0:01-0:18 | "Butera" A Thesis Film which I created alongside Anthony Muscarella, Winnie Feng and Lilly-Chin Hong. Responsible for all texturing, shading, lighting, and compositing. This was lit and separated between foreground, characters, and background. I used 3d projection in Nuke to create several layers of background trees/grass with cards.
0:19 - 0:26 | A project in which I filmed and tracked live-action plate and then shaded, lit, and composited CG assets to match the plate. This project gave me experience and knowledge with HDRIs, LUTs and programs such as 3DEqualizer for tracking.
0:27 - 0:37 | "Butera", A Thesis Film. Responsible for all texturing, shading, lighting, and compositing. Rendered with Light AOVS and created an animated fire crackling effect using an expression. The shadow was rendered separately using camera projection and then composited over the character and background plates.
0:38 - 0:50 | Responsible for all CG lighting and rendering. A short film created by VCGA, which I volunteered to light for. I used light-linking to shape all the ships in the shot and also lit and rendered interactive passes of the laser beams for compositors.
0:51 - 0:56 | "After", A thesis film created by Laney Lai. Responsible for texturing and shading of the skeleton prop and all compositing. The shot was rendered with light AOVS and I adjusted the lighting and colors to make all elements cohesive and consistent with other shots.
0:57 - 1:00 | "Butera" Thesis Film. Responsible for all texturing, shading, lighting, matte painting, and compositing. Background extensions were done using 3d projection in Nuke. Matte paintings were done in Photoshop and projected in nuke, as well.
1:01- 1:04 | Responsible for all CG lighting and rendering. Used light-linking to properly shape each ship's silhouette and create a focal point.
1:10 - 1:19 | "Material Girl", A thesis film by Jenna Spurlock. Responsible for trouble-shooting and fixing the light flickers visible on renders during compositing. After tracking elements, I frame-held the last frame and used a match-move created by the tracker to integrate the layer back into the shot.