Bertrand Bry-Marfaing
CG Supervisor / 21 yrs
Vancouver, Canada
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Work history
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Lead Lighting/Lookdev TD
MPC
Oct 2013 - Nov 20141 yr 1 moVancouverSet 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.
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Senior Lighting/Lookdev TD
Framestore
Jun 2009 - Nov 20095 mosLondonProject: 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.
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Lead Lighting TD
Framestore
Nov 2008 - Jun 20097 mosLondon
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.
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Surfacing TD
Framestore
Sep 2007 - May 20088 mosLondon
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.
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Lighting/Compositing TD
Animal Logic
Jun 2006 - Sep 20063 mosSydney
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.