Sony Pictures Imageworks

Lead Lookdev Artist

Film: Smallfoot

From April 2016 to present

I'm currently working on the lookdev of hero characters, the setup for generic characters variation, as well as infrastructure aspects of the lighting and lookdev tools.

Sony Pictures Imageworks

Lead Lighting Artist

Film: Alice Through the Looking Glass

From July 2015 to March 2016

I worked with close collaboration with the FX team for the look and efficiency of the environment composed of incredibly high amount of geometry. The walls of the building were made of vines and leaves.

I had a just handful of lighters in my team, but my sequences were small.

Sony Pictures Imageworks

Senior Lighting TD

Film: Hotel Transylvania II

From January to July 2015

This was my first project at Sony. I lit shots based on the clients requirements. This film is so much fun, you should watch it if you haven't.

MPC

Lead Lookdev and Lighting

Films: Night at the Museum III
Jersey Boys
Maleficent

from October 2013 to November 2014

Before the artists start on the show, I set up the lighting and look-development working environments. Then I assign the tasks and monitor their progress, offering artistic and technical feedback and advice to the artists. I also present the material developed by my team to the supervisors and ensure that their feedback is addressed. I worked on Maleficent (mostly full CG environments and creatures), Jersey Boys (set extensions and digi-doubles), and Night at the Museum 3 (full-frame hard-surface creatures).

Pixar-Canada

Lighting Technical Artist

Short Films: The Radiator Springs 500 ½
Spinning
Bugged
Hiccups
Partysaurus Rex
Time-Travel Mater
Small Fry
Air Mater

From September 2010 to October 2013

I was doing "master" light rigs to be used on the sequences, starting from a color key, and with a constant dialog with the lighting director, set designer, DOP and director, finessing the look of the sequences. I also had to make sure that the render speeds were under control. I would also offer technical support to the lighters using my setups. I also did shot lighting, bringing the shots to Pixar's high quality standards.

Framestore CFC

Lead Lookdev and Lighting

Films:

Your Highness
Avatar
Where the Wild Things Are

From November 2008 to November 2009

Project: Your Highness
I lead the lookdev team on this small project. Most of my work was on a fleshy creature.

Project: Avatar
I started on the project doing look development. This was particularly challenging because we received from Weta the models and textures, and I had to find out how the "ingredient" were used to achieve the same look. I also designed and developed some workflow tools specific for the production both for the lookdev and lighting teams. I wrote a few coshaders, or modified existing shaders into coshaders for the production. And I also did the lighting of shots.

Project: Where the Wild Things Are.
I did the look development of a character, lead a small team (assigning shots, making sure of the quality and consistency), and lighting shots. The elements that were full CG were the eyes and lips. The rest of the face was rendered as well, but were using the filmed images. This was a great work of integration.

Framestore Animation

Lighting Supervisor

Film:
The Tale of Despereaux

From September 2007 to November 2008

My tasks as Lighting Supervisor included assigning shots and ensuring of their progress, finding technical solutions for challenging shots (which required writing shaders and scripts), giving artistic feedback and solving problems (examining ribs, shaders, maya scenes, pointclouds, etc.). I lead a team of about 10 people, but it grew to 14 people at some point. And I also lit a few shots.

I started on the project as Surfacing TD.

Animal Logic

Lighting/Compositing TD

Film:
Happy Feet

From June to September 2006

Starting from a master light rig, I created the lighting setup of the shots in Maya, and I setup the different output layers and passes exclusively through MEL scripting. A great attention was given to the shadow maps generation. After the renders were completed, I composited them with Digital Fusion. I worked with about 50 to 75 layers for each shots. Most of the lighting happened at the compositing stage. The final sequence was carefully fine-tuned to perfectly match the other shots of the sequence. I also setup the lighting rig for the sequence with the walruses.

This is not an exhaustive list of the films I've worked on. For a full list, please visit my LinkedIn profile, or download my Printable Resume.