Bertrand Bry-Marfaing

Work History

• 

  cg supervision

  Sony Pictures Entertainment

  January 2015 - Present
• 

  Lead Lighting/Lookdev TD

  MPC

  October 2013 - November 2014

  Vancouver, Canada Area

  Set the lookdev standards and make sure the assets are photorealistic while meeting the artistic demands of the supervisors. Supporting the lighting team both technically (katana templates, etc.) and artistically, increasing the artistic strength of the team, and making sure the notes were met before showing again in dailies.

  
• 

  Lighting Technical Artist

  Pixar

  September 2010 - October 2013

  Vancouver, Canada Area

  On the Pixar Shorts we were creating at Pixar-Canada, I was doing "master" light rigs to be used on the sequences, and offering technical support to shot lighters. I also did shot lighting.
• 

  Lead Lookdev TD

  Framestore

  November 2009 - July 2010

  London, United Kingdom

  Project: Your Highness.
  I was doing the lookdev of a creature and working closely with the Lighting Lead, making sure everything was ready for the cruise-speed lighting production of the shots. The complexity lied in the fact that the creature evolved throughout the sequence (changed shapes and textures). Working with Maya, Nuke and prman (the rib-exporter was an proprietary tool).
• 

  Senior Lighting/Lookdev TD

  Framestore

  June 2009 - November 2009

  London, United Kingdom

  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.

  

  
• 

  Lead Lighting TD

  Framestore

  November 2008 - June 2009

  London, United Kingdom

  
  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.
  

  
• 

  Lighting Supervisor

  Framestore

  June 2008 - November 2008

  London, United Kingdom

  
  Project: The Tale of Despereaux.
  My tasks 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.
  
• 

  Surfacing TD

  Framestore

  September 2007 - May 2008

  London, United Kingdom

  
  Project: The Tale Of Despereaux.
  I was in the surfacing department, doing look development, creating shaders and writing some tools (MEL script). I did not paint texture maps, and the surfacing work per se didn't include shader writing.
  

  
• 

  Technical Director

  Beyond-FX

  November 2006 - July 2007

  Montreal, Canada Area

  
  I developed the rendering pipeline for the production of a cinematic and advertisement of a major video game. Used 3Delight, a renderman-compliant renderer, with Maya and Fusion. The pipeline was simple, but powerful (use of AOV, shader message-passing, etc). It was designed to give the most latitude at the compositing stage. I did not develop the modeling/rigging/animation side, only the shading/lighting/rendering/compositing side.
  
• 

  Lighting/Compositing TD

  Animal Logic

  June 2006 - September 2006

  Sydney, Australia

  
  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.
  

  

• Lead Lighting Artist

  Modelink

  November 2004 - February 2006

  Montreal, Canada Area

  
  Following the director and the supervisor's indications, I created "master" light rigs that were used by the lighting team. I also assigned shots to lighting artists and kept track of their progress, as well as gave them feedbacks and directions on their work. I created tools to ease the workflow and solved technical problems as well.. No rendering passes were used on this project, thus a high degree of control was needed at the lighting stage.
  

• Lighting Artist

  DAMN FX!

  May 2004 - July 2004

  Montreal, Canada Area

  
  Under the supervision of the lead lighting artist and the directions of the artistic director, I had to create light rigs for the assigned shots. I used "master" light rigs to ensure continuity between shots. The shots had to be prepared for the rendering stage.
  

• Lighting Artist

  Lone Monkey

  September 2003 - November 2003

  Montreal, Canada Area

  
  I created light rigs within a short frame of time, without much supervision. It was a great experience though.