Shot Breakdown

Lighting and Compositing

 

Responsible for all CG Lighting and Compositing from Beginning to Final

 

Kung Fu Panda 01

KFP– Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I was responsible for lighting both characters and environments, setting up render passes, and final compositing.
One specific challenge involved rendering the dumpling — the motion blur initially appeared too soft, causing a loss of detail.
To resolve this, I adjusted the shutter speeds and re-rendered multiple passes, achieving a sharper, more natural motion effect while preserving the film’s visual style.

Kung Fu Panda 02

Screen Shot 2013-11-12 at 3.46.23 PM– Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I contributed to lighting both characters and environments, setting up render passes, and final compositing.
Specifically, I created dedicated passes for the baskets and the character inside the basket, ensuring accurate integration, shadowing, and visual consistency across the scene.

Kung Fu Panda 03

Screen Shot 2013-11-12 at 5.05.54 PM– Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I handled lighting and rendering for the rabbits, which presented a technical challenge due to their dense fur geometry and shader inconsistencies.
To optimize performance and achieve correct final renders, I carefully adjusted their shader settings and optimized the fur assets, ensuring they loaded efficiently and rendered successfully with the intended visual quality.

Kung Fu Panda 04

Screen Shot 2013-11-12 at 3.47.35 PM

– Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I was responsible for the lighting and compositing of this key shot, focusing on the mood, contrast, and atmosphere to enhance the storytelling.
The visual result received positive feedback from the Art Director, recognizing the shot’s strong composition and emotional tone.

Shrek Forever After 01

Screen Shot 2013-11-12 at 3.51.31 PM

– Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I lit and composited this shot under a tight production deadline, following detailed art direction that required precise control of color temperatures.
The character’s animation moved in and out of lighting zones, demanding careful adjustments to maintain consistency and meet specific visual targets.
Despite receiving notes late in the day, I successfully completed the shot by the next morning, delivering the intended look on schedule.

Shrek Forever After 02

Screen Shot 2013-11-12 at 3.49.48 PM
– Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I executed the lighting and compositing for this shot based on very specific art direction, with a strong focus on maintaining the intended mood and visual clarity.
The Art Director’s clear vision guided the process, and the final result successfully met the creative expectations, receiving positive feedback.

Flushed Away 01

Screen Shot 2013-11-12 at 3.52.35 PM
-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I was responsible for lighting characters and environments, setting up render passes, and final compositing for multiple sequences.
This project offered a playful and dynamic visual style, where careful lighting helped enhance the comedic timing and maintain consistency across complex, fast-moving shots.

Harry Potter and the Prisoner of Azkaban 01

Screen Shot 2013-11-12 at 3.53.07 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

I handled lighting and compositing for this atmospheric shot, focusing on creating volumetric lighting effects (god rays) and achieving accurate character reflections across the water surface.
Careful attention to light scattering and surface interactions was essential to maintaining the moody, cinematic look consistent with the film’s visual style.

Harry Potter and the Prisoner of Azkaban 02

Screen Shot 2013-11-12 at 3.53.29 PM

-Character lighting

– Passes Set up and rendered

Responsible for tracking the Hippogriff’s chain and creating detailed texturing and shading on the Hippogriff’s hooves to ensure seamless integration into the final scene.

Madagascar 3 Europe’s Most Wanted 01

Screen Shot 2013-11-12 at 3.53.51 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Led character and environment CG lighting, set up and rendered all passes, composited final shots, and lit/rendered FX elements such as debris for seamless integration.

Madagascar 3 Europe’s Most Wanted 02

Screen Shot 2013-11-12 at 3.54.06 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Handled character and environment CG lighting, set up and rendered all passes, and composited final shots. The lighting work for the two monkeys received special recognition from the art director.

Madagascar 3 Europe’s Most Wanted 03

Screen Shot 2013-11-12 at 3.54.30 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Created character and environment CG lighting, completed all pass setups and renders, composited final shots, and delivered in-and-out lighting animation following the art director’s detailed direction.

Madagascar 3 Europe’s Most Wanted 04

Screen Shot 2013-11-12 at 3.55.43 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Created character and environment CG lighting, set up and rendered all passes, composited final shots, and added Z-depth maps, environmental fog, and Gobo ground effects to enhance scene depth and realism.

Puss and Boots 01

Screen Shot 2013-11-12 at 3.56.18 PM

-Character /environment CG and FX lighting

– Passes Set up and rendered

-Compositing

Handled character, environment, and FX CG lighting; set up and rendered all passes; composited final shots. Optimized numerous debris FX elements to manage complex scenes and significantly reduce render times.

Puss and Boots 02

Screen Shot 2013-11-12 at 3.57.07 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Created character and environment CG lighting, completed lighting pass setups and renders, composited final shots, and handled the lighting and integration of all water elements within the scene.

Puss and Boots 03

Screen Shot 2013-11-12 at 3.57.27 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Handled character and environment CG lighting, completed all pass setups and renders, composited final shots, and executed mirror effects creation and integration in Nuke.

Monsters VS Aliens Halloween Special 01

Screen Shot 2013-11-12 at 3.58.25 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Created character and environment CG lighting, completed pass setup and rendering, composited final shots, and prepared main character lighting for sequence-level production.

Rise of the Guardians

Screen Shot 2013-11-12 at 4.03.10 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Created character and environment CG lighting, completed lighting pass setup and rendering, composited final shots, and developed the look and sequence-level lighting for the main character. Successfully achieved supervisor approval on the first delivery.

Kung Fu Panda2 

Screen Shot 2013-11-12 at 4.00.55 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Created character and environment CG lighting, set up and rendered all passes, composited final shots, and developed the look and sequence-level lighting for the main character. The character presented unique challenges, and the work received personal acknowledgment from Jeffrey Katzenberg for the effort and perseverance.

Shrek Forever After 

Screen Shot 2013-11-12 at 4.02.25 PM

-Character and environment CG lighting

– Passes Set up and rendered

-Compositing

Created character and environment CG lighting, completed lighting pass setup and rendering, composited final shots, and was personally selected by Jeffrey Katzenberg to work on one of the most costly sequences in the production, focusing on Fiona’s character.