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Jessie Graybeal
Character/Prop Artist at NetherRealm Studios
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Mortal Kombat 1 Kombat Pack 2

For our Kombat Pack 2 DLC, I was able to work on a variety of character features, including Cyrax and Sektor's Helmet functionality, providing unique skeletons/animations for every helmet prop, creating our material library used for animals in our Animality sequences, Various 4th wall breaking techniques for cinematics and in-game moves for Ghostface, and our biggest challenge: T1000 from Terminator 2. To get T1000 right, a lot of assets needed to be remade from scratch. I helped oversee the production of his dismemberment prop assets, setup the overall look of the Liquid Metal/Chrome looking material effects, and the various transforming/hiding of limbs needed for his moves to work and still remain faithful to the movie.

MORTAL KOMBAT and all related characters and elements are trademarks of © Warner Bros. Entertainment Inc.

I created the alternate "Kenshi Vision" Post Process Effect for Ghostface's Fatality when done against Kenshi, who is a blind character and typically has a Bandana covering his eyes, requiring a unique Fatality sequence for him.

I created the alternate "Kenshi Vision" Post Process Effect for Ghostface's Fatality when done against Kenshi, who is a blind character and typically has a Bandana covering his eyes, requiring a unique Fatality sequence for him.

I was responsible for setting up the reflection of Ghostface in the victim's eye using Scene Capture Actors and Render Targets to project him into the eye materials. Big Thanks to Justin Denton for Cinematic camera support.

I was responsible for setting up the reflection of Ghostface in the victim's eye using Scene Capture Actors and Render Targets to project him into the eye materials. Big Thanks to Justin Denton for Cinematic camera support.

I was responsible for the transition from Fightline to TV screen for Johnny Cage's Fatality, as well as the Blood Splatter and Fatality UI element in the material itself.

I was responsible for the transition from Fightline to TV screen for Johnny Cage's Fatality, as well as the Blood Splatter and Fatality UI element in the material itself.

The TV transition utilized Render to Texture/Scene Capture Actors, Post Process Effects, and strategically aligned cinematic cameras from Cinematic artist Justin Denton to simulate the transition from fight to TV.

The TV transition utilized Render to Texture/Scene Capture Actors, Post Process Effects, and strategically aligned cinematic cameras from Cinematic artist Justin Denton to simulate the transition from fight to TV.

The TV transition utilized Render to Texture/Scene Capture Actors, Post Process Effects, and strategically aligned cinematic cameras from Cinematic artist Justin Denton to simulate the transition from fight to TV.

The TV transition utilized Render to Texture/Scene Capture Actors, Post Process Effects, and strategically aligned cinematic cameras from Cinematic artist Justin Denton to simulate the transition from fight to TV.

I was responsible for the setup of our HUD elements for Cyrax and Sektor's in-helmet view in-game with provided HUD designs from our UI team. I also setup a custom Eye material effect to simulate reflections in the eyes.

I was responsible for the setup of our HUD elements for Cyrax and Sektor's in-helmet view in-game with provided HUD designs from our UI team. I also setup a custom Eye material effect to simulate reflections in the eyes.

I was responsible for the rigging and animation of the various Cyrax and Sektor Helmets. Each helmet has a unique rig and open/close animation. Blueprint logic was added to allow cinematic and Design teams to open/close the helmets at any point.

I was responsible for the rigging and animation of the various Cyrax and Sektor Helmets. Each helmet has a unique rig and open/close animation. Blueprint logic was added to allow cinematic and Design teams to open/close the helmets at any point.

I was responsible for the custom rig used for Sektor's Backpack and Claw arm props. The claw arm can be animated from the end and maintain movement from the character at the attached end without counter animating.

I was responsible for the custom rig used for Sektor's Backpack and Claw arm props. The claw arm can be animated from the end and maintain movement from the character at the attached end without counter animating.

I was responsible for the custom rig used for Sektor's Backpack and Claw arm props. The claw arm can be animated from the end and maintain movement from the character at the attached end without counter animating.

I was responsible for the custom rig used for Sektor's Backpack and Claw arm props. The claw arm can be animated from the end and maintain movement from the character at the attached end without counter animating.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props, and morphing into opponents.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props, and morphing into opponents.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props, and morphing into opponents.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props, and morphing into opponents.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props (Like the arm blades which I also setup), and morphing into opponents.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props (Like the arm blades which I also setup), and morphing into opponents.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props, and morphing into opponents.

I was responsible for the overall look and functionality of T-1000's Metallic form. This included material effects for full metallic, hiding various limbs for props, and morphing into opponents.

For T-1000's Fatality, I setup the bloob masking on the arm blade.

For T-1000's Fatality, I setup the bloob masking on the arm blade.

I was responsible for the setup of the custom "X-Ray Shell" used for T-1000 as a victim of Fatal Blows, opting to go for showing a fully metallic version of him instead of any interior bones.

I was responsible for the setup of the custom "X-Ray Shell" used for T-1000 as a victim of Fatal Blows, opting to go for showing a fully metallic version of him instead of any interior bones.

Some sequences utilized Morph Targets to warp the T-1000's head in various ways to help sell the "liquid" look. Ripple effects were added as Decals provided by Tech Artist Aren Voorhees.

Some sequences utilized Morph Targets to warp the T-1000's head in various ways to help sell the "liquid" look. Ripple effects were added as Decals provided by Tech Artist Aren Voorhees.

Close up of the head used for T-1000's Fatal Blow Victim sequences.

Close up of the head used for T-1000's Fatal Blow Victim sequences.

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