Bertrand Bry-Marfaing

Bertrand Bry-Marfaing

Supervisor CG Supervisor / 20 yrs

Vancouver, Canada

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CG Supevisor

Vivo (2021)

Lighting Artist (Unknown Episodes)

Fungus the Bogeyman (2015)

Lighting Technical Artist

Tales from Radiator Springs (2013)

Lighting & Compositing Artist

Toy Story Toons: Partysaurus Rex (2012)

Lighting And Compositing Artist

Toy Story Toons: Small Fry (2011)

Lighting Technical Director

Avatar (2009)

Shader Writer

The Hunt for Gollum (2009)

Lighting Technical Artist

Cars Toon: Mater's Tall Tales (2008)

Lead Lighting Artist

Free Jimmy (2006)

cg supervision

Smallfoot (2018)

Lead Lighting/Lookdev

Alice Through the Looking Glass (2010)

Senior Lighter

Hotel Transylvania 2 (2015)

Lead Lighting/Lookdev

Night at the Museum: Secret of the Tomb (2014)

Lead Lighting/Lookdev

Jersey Boys (2014)

Lead Lookdev/Lighting

Maleficent (2014)

Lead Lookdev

Your Highness (2011)

CG Lighting Artist

Where the Wild Things Are (2009)

Lighting Supervisor

The Tale of Despereaux (2008)

Lighting TD

Happy Feet (2006)

Work History
  • cg supervision

    Sony Pictures Entertainment

    January 2015 - Present
  • Lead Lighting/Lookdev TD


    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


    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


    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


    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


    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


    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


    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


    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


    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.

  • Bachelor of Fine Arts (BFA)

    Concordia University

    September 1999 - May 2003
  • Diplôme d'Études Collégiales

    Cegep Lionel-Groulx

    September 1993 - June 1996