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Jess Bressler
Lighter/Compositor
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CG Reel
Feb 4, 2015
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2 likes
0:04-0:06
Shrek Forever After
Shot lighting, compositing, Full Sequence color and comp manipulation
to integrate last minute changes.
The interesting thing about lighting this shot was it's transition of focus throughout the room while maintaining the feel of the chase and escape.
0:07-0:09
Shot lighting, effects integration, material manipulation, compositing.
the view out the back proved tricky and material manipulation, comp work and lighting trickery was needed to get the inside to visually fade away while maintaining interest so the focus could be on Mater's struggle.
0:10-0:14
Monsters vs Aliens
Lighting Artist
Shot lighting, effects integration, compositing.
In these 2 shots it was important to keep the focus on Susan while still giving visual emphasis to the multitude of aliens who were also very motion blurred. The chaos of them and the relative serenity of Susan flying through the air made these shots a technical visual challenge. Also, Bob.
0:15-0:16
Shrek Forever After
Shot lighting, Character master lighting for group of shots within
a sequence, color and comp manipulation for full sequence after art direction change.
0:17-0:23
Monsters vs Aliens
Lighting Artist
Shot lighting, compositing, and effects integration.
The reflection and matting of hair in passing cars/windows proved to be a technical challenge both visually and with memory usage.
0:24-0:26
Robots
Lighting
Shot lighting, compositing, and effects integration.
0:26-0:30
Pirates of the Caribbean: At World's End
CG Lighting Artist
Asset lighting, material manipulation, preliminary compositing.
Getting each bird to be noticeable while not standing out to maintain the frenzied feel was both fun and challenging.
0:30-0:37
Shrek Forever After
Shot lighting, and compositing.
With the multiple angles in this shot, manipulating audience focus was an exciting challenge.
0:38-0:41
Cars 2
Shot lighting, material manipulation, compositing.
0:41-0:42
Kung Fu Panda
Shot lighting, and compositing, material tweaks for eyeball in order to get it to be the focus of the shot.
0:42-0:47
Shrek Forever After
Character master lighting and shot lighting for group of shots within a sequence and compositing.
Look Dev, lighting, material manipulation, and compositing for disco ball look from art.
0:48-0:50
Cars 2
Shot lighting, effects integration, material manipulation, compositing.
0:50-0:58
Monsters vs Aliens
Lighting Artist
Shot lighting, effects integration and manipulation, and compositing.
Look dev for stamper glow.
0:58-1:01
Shrek Forever After
Shot lighting and compositing of upper floors.
1:03-1:07
[multiple shots] Shot lighting and compositing, staff break look dev from art.
Finding the balance from the light of the staff, the under glow from the floor, and the ambient light to create the tension and ominous overtone and the freedom to experiment with the staff breaking effects made this one of my favorite sequences to work on.
1:07-1:09
Kung Fu Panda
Shot lighting and compositing.
The challenge here was to get rim lights on very blurred and fast knife edges without making the shot so busy as to be unreadable, all while maintaining visual presence for the character.
1:11-1:13
Monsters vs Aliens
Lighting Artist
[2 shots] Shot lighting and compositing.
1:14-1:22
Pirates of the Caribbean: At World's End
CG Lighting Artist
[2 shots] Asset lighting and material manipulation.
The ship's underside needed to look wet and dripping from below so I had to manipulate materials as well as use some lighting trickery to achieve that look as well as give it some life on the fall.
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