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R E E L B R E A K D O W N S H E E T
Life of Pi, Flying Fish SequenceACADEMY AWARD FOR VISUAL EFFECTS
Responsibilities included:
• Lighting the tiger, flying fish, lifeboat, props, and tarp• Working closely with compositor• Providing additional elements needed by FX artistsand compositor to complete the shots
• Developing a 2D art directable technique thatworked in stereo to add glistening specularhighlights to the fish in order to meet the client’svision for the sequence. Technique was used forentire flying fish sequence.
Software: Wren, Lighthouse, Voodoo, Icy
Note: A frame from this sequence was selected for useas a movie poster and book cover.
Visa “The Sweetest Gift”
In this spot, a young gingerbread couple experiencelove, loss, and giving.
My role for this project was 3D lead and my keyresponsibilities were:
• Project bidding and artist scheduling with producers• Reviewing artist portfolios, conducting interviews,
and green lighting hires for the project• Supervising CG modeling for characters andenvironments, giving feedback for artistic andtechnical requirements
• Supervising matte painters for artistic and technicalrequirements
• Photographing and cataloging high-qualityreferences for texturing
• Working closely with the creative director to achievea creative vision
• Attending client meetings to review project statusand receive feedback
• Texturing, lookdev, and optimization for charactersand environments
• Setting up environment layout • Working with the FX team to create stylized effects• Setting up render templates and delayed loadrendering pipeline
• Lighting and rendering characters, environment, andeffects
• Working closely with comp supervisor to createflexible render passes for 2D artists
• Leading dailies with 2D and 3D teams
Project Tidbits• The gingerbread village features 50 houses built ofmore than 40 types of candy. Some roofs are tiledwith over 300 sugar-coated wafer cookies.
• The road contains about 10,000 chocolate pieces. • As much candy as possible was acquired formodeling, texturing, and snacking purposes.
Steve M. Eisenmann
Digital Artist
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Wholly Guacamole “Tricky Avocados”
This quirky spot features five types of difficult avocadopersonalities.
My role for this project was 3D lead, and my keyresponsibilities were the following:
• Supervising CG modeling for characters andenvironments, giving feedback for artistic andtechnical requirements
• Working closely with the creative director to achievea creative vision
• Lookdev and optimization for characters andenvironments
• Asset modeling• Setting up environment layout• Working closely with the FX team to create stylizedeffects matching the stepped frame animation style
• Setting up rendering template and delayed loadrendering pipeline
• Lighting and rendering characters, environment, andeffects
• Working closely with the comp supervisor to createflexible render passes for 2D artists
• Leading dailies with 2D and 3D teams
Kellogg’s Frosted Flakes “Mission Tiger”
Tony the Tiger, concerned about the cancellation ofschool sports, has a plan to help.
My role for this project was on set VFX supervisor and3D lead. Key responsibilities were the following:
• Shooting HDRIs, taking set measurements, andadvising director and first AD for VFX shotrequirements
• Working closely with the creative director to achievea creative vision
• Packaging on set data together for tracking artists• Reviewing and approving camera tracks• Creating and managing a timeline edit for all CGstages
• Creating Tony lookdev assets for Arnold Rendererand Unreal Engine
• Key lighting and rendering Tony • Leading additional lighters• Working closely with comp supervisor to createflexible render passes for 2D artists
• Attending client dinners
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“Mickey and Minnie's Runaway Railway”
Technical duties for this project included:
• Starting with animations of a train ride provided bythe client’s outside vendor, the project involvedrecreating the animation curves for use on both amotion control camera rig plus a motion control traincar prop for live-action filming with people.
• Overseeing the layout of motion control equipmentused during live action filming and QCing of liveaction takes to match CG takes
• After the shoot, the next step was creating rotoanimation train assets matched to the live-actionshots, which were then returned to the vendor forlighting, rendering, and compositing with live-actionelements.
My role for this project was on set VFX supervisor and3D lead. Key responsibilities were the following:
• Creating a method of taking 3D animation curvesand preparing them for multiple motion control rigsto be used on set
• Designing a practical 3D train car in which actors siton stage
• Creating a digital rig for a 6-axis gimbal controllerwith a data output capable of controlling the physicalgimbal
• Prepping camera files and gimbal files for use on set• Debugging technical errors on set• Taking set measurements• Packaging on set data for tracking artists
• Reviewing and approving camera tracks• Creating a reliable reverse tracking technique forapplying camera motion to static objects and forcanceling out camera movements
• Packaging 3D files for an outside vendor to render• Providing technical support for outside vendors• Working closely with the client and vendors toachieve the best possible results
Ant-Man and the Wasp
My roles for this project were lookdev and lightingpollen particles in Houdini for the tardigrade sequenceduring Hank’s quantum dive.
The look was achieved through the use of SOP andMAT networks. I created templates for easy materialassignment of all of the pollen, and lighting templatesfor consistent passes to comp. After the key shots wereapproved, remaining shots were passed to junior artiststo update and maintain. Software: Mantra, Nuke,Houdini
Black Panther
Lighting responsibilities included grading HDRIs to live-action plates and matching Killmonger and BlackPanter’s digital suits to live-action plates, matchingenvironment assets to plate. Software: Vray, Nuke,Maya
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Percy Jackson: Sea of Monsters, Hippocampus
As the lookdev artist responsible for managing theHippocampus hero lookdev, my duties included workingclosely with texture painters, shader writers, andlighters to create a character capable of having multiplelayers of iridescence and dynamic water FX thatworked in the pipeline. Other responsibilities includedtraining artists in the Houdini lookdev pipeline, andkeeping the lookdev supervisor up-to-speed onprogress in shader development.
Godzilla: King of the Monsters
My responsibilities for this project were lookdev andlighting the FX dust and webs for the Mothra hatchingsequence. A challenge to tackle was getting Maya andV-ray to render the spitting webs. My solution inHoudini was creating a very simple Phong stylematerial and rendering it with the micro-polygon engine,which allowed the high-motion blur object to berendered much faster and cleaner. Software: Mantra,Nuke, Houdini
Okja, At the Farm
Lighting responsibilities for these shots includedforeground hero pigs, background crowd pigs, fence,and ground environment. Special care was given to themain hero pig Okja to ensure lighting and shadowsexactly matched the girl filmed on set. Pools of lightwere added to the pig crowds to break up the overalldarkness. Also, I debugged a studio render template forerrors introduced through hardcoding bit depths intoutility passes. Software: Vray, Nuke, Maya
The 100: Season 3, Space Station
Responsibilities for these shots included creating asequence light rig, shading networks for the spacestation asset, set dressing space station with lights,fine detail geometry for close up shots, and creationof a 3D planet earth tool in Nuke that renderedmultichannel .exr files which included diffuse, spec,clouds, and atmosphere at a position based off a nullprovided by animation department. Software: Vray,Nuke, Maya
Cosmos, Cosmic Calender and Hall of ExtinctionEMMY NOMINATION: OUTSTANDING SPECIAL AND VISUAL EFFECTS
As the lighting supervisor for the 3D sequences atMokko, I helped write, develop and maintain therendering pipeline used for all the Cosmic Calendarshots, and created optimized rendering presets for allthe calendar assets. Using an approved light rig, Icreated a camera projection setup for Nuke in order toavoid high-congestion rendering at the studio’s farm forthe hall of extinction. Software: Maya, Mental Ray, Nuke
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