BREAKDOWN
Resident Evil:
Welcome to Raccoon City (2021) - Film
Company - MPC Toronto
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 arm
For this sequence I was responsible to create all the lighting aspects, I adjusted the hdri, placed the lights accordingly and made sure the grossness was visible. The blinking light for the shot was made in comp with provided light passes that I created.
Train and environment
Only the characters are not CGI in this Shot, all the environment and the Train are rendered. Since it was a single shot I created all the necessary lights to make it work, including the volumetrics.
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.
Awake (2021) - Film
Company - MPC Toronto
Software - Houdini
Renderer - Renderman
Background Water
I received the water from the FX team with some already built Shader, but since they used another renderer I needed to recreate it. The Sun was the only light added to the scene, but to make it work combined with the shader took some time.
Underwater Car
Any water FX was used in this shot, the lighting was created with only the car in scene but with a depth pass that comp could make it disappear.
But to feel like it was underwater I needed to use water textures applied to the lighting and also change the car materials to simulate it was underwater.
Fish
This shot also wasn't created using any FX, it was made using a depth pass and some material adjustments to make it feel underwater.
Breaking glass
For this one a previous light rig was prepared, but to make it work I need to add a projection with the plate to the glass to feel very realistic.
Cats (2019) - Film
Company - Mill Film Montreal
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.
Snake Eyes (2021) - Film
Company - MPC Toronto
Software - Houdini
Renderer - Renderman
Environment and helmet glasses
All this long road sequence were made with a very complex rigging created by the technical artists, leaving us the task of placing all the lights in the right places while it moves across the sequence making the cuts between shots feeling natural.
Some extra lights were added to make the helmet glasses look as desirable.
Dices
I was responsible for doing all the light for this sequence, and also prepared the table with the reflections passes and everything to make the integration with the plate.
Ted (2021) - Episodic
Company - Folks VFX Toronto
Software - Houdini
Renderer - Arnold
Toy cabin
For the whole sequence I was able to create all the lights, HDRI and everything was needed to make it look good.
Only the cabin is CGI, the other parts of the toy were part of the plate.
Toddy (2015) - Commercial
Company - O2 Filmes São Paulo
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
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.