3D Launch Trailer

The Lord of the Rings: Circle of Conflict

Role: 3D Animator, 2D Compositing, Localizations

Tools Used: Cinema 4D, Redshift, After Effects, Illustrator, Photoshop

When you’re working with The Lord of the Rings, the margin for error is small.

This wasn’t just another board game trailer. It was a licensed property under Middle-earth Enterprises, published by Office Dog (an Asmodee studio) — one of the biggest names in tabletop. That means approvals. That means tone sensitivity. That means getting the world right.

My role on Circle of Conflict was 3D animator. I handled modeling, texturing, lighting, animating, and rendering the product shots that brought the game into a cinematic space.

Epic Made developed a tight storyboard with music cues mapped out shot-for-shot. My job was to translate that blueprint into dimensional, cinematic moments — without losing the integrity of the brand.

The Challenge

Because the game wasn’t fully available as physical product during production, I relied heavily on print files to build digital assets.

I started by reconstructing the Gollum meeple in 3D using the print files as reference. From there, I modeled and textured the box, player cards, dice, and board elements. Each asset needed to feel grounded in the physical game while still holding up under cinematic lighting.

To build the world beyond the table, I layered in environmental elements — a distant, AI-assisted Mordor-inspired volcano, floating rock formations, and subtle atmospheric depth. I also built a custom lava material that cast a believable heat glow onto the board, adding life without overpowering the product.

The goal wasn’t spectacle for spectacle’s sake.

It was to make the game feel epic while keeping the product clearly readable.

Tone & Challenge

This piece lived in a darker, moodier palette. That’s exciting creatively, but challenging from a product standpoint. Too dark, and you lose clarity. Too bright, and you lose the drama that defines Middle-earth.

Balancing intrigue with legibility was the real technical challenge.

Every lighting choice had to serve both atmosphere and usability. The board, cards, and dice needed to feel tangible and collectible — not swallowed by cinematic lighting.

Precision & Timing

Because the music beats were pre-defined, animation timing had to be exact.

I moved constantly between After Effects and Cinema 4D, mapping out frame counts and cue points so that dice rolls, camera moves, and product reveals landed exactly where they needed to.

One of my favorite moments in the piece is the hand-rolled dice animation. It feels physical, grounded, and tactile — not procedural. That physicality matters in tabletop marketing. These are objects people want to hold.

The final call-to-action lockup is another highlight. It brings together tone, product clarity, and brand presence in a way that feels strong but not overdesigned.

Deliverables & Approvals

With major IP comes layered approval processes.

It wasn’t just about delivering to Office Dog (an Asmodee studio) — it was about making sure the visuals met licensing standards under Middle-earth Enterprises. That means details matter. Logos matter. Tone matters.

After the horizontal version was approved, I rebuilt the camera movement for vertical framing in Cinema 4D, ensuring compositions still worked and no critical product information was cropped.

The goal was consistency across formats without feeling like a compromised crop.

What This Project Demonstrates

This project shows that I can operate inside a high-expectation environment without losing creativity.

It shows that I can take a storyboard and elevate it through lighting, material work, and animation while staying faithful to an established IP.

It shows that I understand how to balance mood and clarity — something that matters deeply in product-driven storytelling.

And it shows that I can collaborate closely with an agency team, translating music cues and shot lists into precise execution without friction.

When you’re handling licensed properties, details aren’t optional.

They’re the job.

Contact.