BREAKDOWN
Resident Evil:
Welcome to Raccoon City (2021) - Film
Company - MPC Toronto
Task - Lighting
Software - Houdini
Renderer - Renderman
Creature
This creature is part of a collaborative sequence distributed to many artists, but for this one they asked for something more unique.
The light rig previously create wasn't work since it was in another area of the environment too, so I recreated most of the lighting.
Dog
I was the only lighting artist in charge of the dog sequence, so I needed to create everything from scratch, from the light rig to the final lights placement to every single shot. This one had several ins and outs, since the dog and glass had many iterations.
Creature and train
For this one I inhered some shots of the sequence from the Lead artist, but it was made only to the train interior.
So I adjusted to the light keep the continuity of the other shots but also making the creature look good inside and outside of the train. The blinking lights was made in comp, I delivery it with separated passes and they adjusted it as needed.
Pinocchio (2022) - Film
Company - MPC Toronto
Task - Design, sculpting
Software - Houdini, Zbrush and substance designer
Renderer - Renderman
Environment walls
Most of the assets in this film were created by the company that were doing the stop motion, they created it first in real life and after that just scanned to be transferred to CG.
But not the walls, they only provided some ideas the director was thinking about. With the help of the supervior I started creating some sketches and after some meetings with Del Toro he approved this one.
After it is decided I started creating the final shapes, using mostly zbrush and the Houdini terrain system. I also created some procedural masks to help the texturing.
Unfortunately I didn't have a chance to keep working on it until the end because I needed to leave to company, but the final result is very close to what I left behind, design and modeling wise. The only thing added was the small details and textures. They did a great job with the final version.
Descendants: The Rise of Red (2024) - Film
Company - Folks VFX Toronto
Task - Design, modeling, texturing and lookdev
Software - Houdini, Blender and substance painter
Renderer - Arnold
Claw
To create this model I had just an very loose drawing, just to understand what they needed and with that i was able to create basically all the design in a very short time.
Also some mechanical parts were needed to be functional.
The textures and lookdev are a mix of procedural and by hand approach.
Reacher (2023) - Episodic
Company - Folks VFX Toronto
Task - Modeling, texturing and lookdev
Software - Houdini, Blender and substance painter
Renderer - Arnold
Helicopter
As usual the company bought a model as close as possible to the one used in the filming, but it was not exactly the same so I needed to modify and add several parts to it.
For the texturing and lookded I needed to do it from scratch, all those bought models have poor uv work.
Toddy (2015)
Company - O2 Filmes São Paulo
Task - Lighting, texturing and lookdev
Software - 3DS Max
Renderer - Corona
Toddy Mascot
At the time was not common having references like environment scans, hdris or anything that may help doing a good lighting, so this one was done using only the perception of the light and shadows of the other elements in scene.
Sky (2016) - Commercial
Company - O2 Filmes São Paulo
Task - Lighting
Software - Maya
Renderer - V-ray
Environment
I was in charge of creating all the lighting for the environment, there wasn't any reference for it so i had freedom to make it the way I wanted.
The ogre lighting was created separately by other artist but he used my own as base for it.
Cats (2019) - Film
Company - Mill Film Montreal
Task - Lighting
Software - Katana
Renderer - Renderman
Characters
Although some environments were CGI, I only work on the character and the objects they interact with. With all the technical issues around the film, the lighting itself were very organized, with all the light rigs provided by the leads, giving us the time necessary to make the adjustments. Every lighting was made shot by shot, without sequence renders that sometimes is used when the shots are similar to each other.
With all the fur, the render time was huge so we had no room for mistakes.
Le Blanc (2018) - Personal project
Task - Lighting, modeling, texturing and lookdev
Software - Unreal Engine 4, 3Ds Max,
substance painter and designer
Environment
I decided to make this project to learn and practice all the pipeline for a realtime scene in Unreal engine. I created all the assets from scratch, always doing a high and low versions of them.
For the textures I created everything using substance designer materials also created by me and the lighting was done using the baking method.