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AO
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Dec
2008 to Sept 2009 |
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Director
: Jacques Malaterre
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Postproduction
Studio : DUBOI
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My job:
CG Supervisor
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IN PRODUCTION == |
Softwares :
Maya,
Renderman, in-house tools and compositing software. |
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UNDERWORLD 3: The Rise of the Lycans
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May
to Nov. 2008 |
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Director
: Patrick Tatopoulos
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Postproduction
Studio : DUBOI
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My job:
Head of Lighting,
Lookdev, TD
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| ==
Not Yet Available == |
Softwares :
Maya,
Renderman, in-house tools and compositing software. |
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NARNIA : Prince Caspian
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Jan.
to Ap. 2008 |
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Director
: Andrew Adamson
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Postproduction
Studio : MPC (Moving Picture Company)
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My job:
Senior Lighting
TD
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Softwares :
Maya,
Renderman, in-house tools / pipeline, Shake. |
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ASTERIX
3 , aux Jeux Olympiques
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Sept.
to Oct. 2007 |
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Director
: Thomas Langmann, Frederic Forestier
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Postproduction
Studio : DUBOI
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My job:
Lead Artist
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| Coming
to help a friend to finalize a very big 3D shot
(900 frames for several tens of millions of polygons),
I spent 2 months to mainly lead a part of the modeling,
textures, shading and rendering works. Working closer
with the R&D, I set up all the 'in house' mentalRay
shaders with customs frameBuffers. Starting, with
the great help of Baptiste Sansiera, to match all
the shading models and nomenclature to our Renderman
pipeline. Then I have written several Mel, Python
and Bash scripts to treat the data with the more
procedurally way. |
Softwares :
Maya,
MentalRay, Renderman, in-house tools and compositing
software. |
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HIS
MAJESTY MINOR
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Oct.
2006 to Aug. 2007 |
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Director
: Jean-Jacques Annaud
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Postproduction
Studio : DUBOI
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Post-production
Director: Frederic Moreau
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| Supervisor:
Thierry Delobel |
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My job:
CG supervisor / Lookdev
/ TD
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This production was very pleasant and instructive.
I have supervised the 3D part of the shooting
in Spain and all the 3D artists, from modeling
to precompositing and R&D. As you can see
below on pictures, even there were severals other
shots, our main work was to do legs replacement
for the "fawn" and the "centaur"
characters. The 3d rotoscopy was a very long process
of the work, and that's why I have written some
scripts wich convert 2D trackers from Shake in
3d space within maya. It was a kind of "Movimento"
(from Realviz) but very simplified of course.
Then we have improved our fur and rendering tools
used to do "The stone council". The
"Centaur" movie show a part of the possibilities.
The fur Rib exporter supports animated displacement,
fur instance 'on the fly'...
Very great 2D and 3D teams !
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Softwares : Maya,
Renderman, Shake and in-house compositing software |
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THE
STONE COUNCIL
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Apr.
to Sept. 2006 |
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Director
: Guillaume NICLOUX
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Postproduction
Studio : DUBOI
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VFX Supervisor
: Thomas Duval
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My Job
: CG supervisor,
Lookdev, Rendering / Fur TD
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At the begining I was in charge of all the research
and setup of the rendering and fur pipeline. Starting
from scratch and working closer with a young and
very talented programer, we have done in few monthes
all the shaders , rib exporter, snow generator on
fur, dynamic's computation on distant machines etc....
As you can see it in the 'Centaur' video above,
shaders support lights grouping passes and customs
Arbitrary Output Variable in order to finalize the
lighting process easily at the compositing stage.
In the same time, I have supervised the team who
works on lighting, mapping, fur and dynamics.
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Softwares : Maya,
Renderman, Shake and in-house compositing software |
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RENAISSANCE
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April
to September 2005 |
Top^ |
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Director : Christian
VOLCKMAN
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Production :
ONYX Films
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Animation Studio :
ATTITUDE STUDIO
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My Job : Senior
Lighting and Shading artist
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the rendering team I have made the Lighting and
Shading on 60 shots, then worked on a black &
white metal shading model. |
Software : Maya,
Air (renderman compliant), Shake |
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PERYL
SUR AKRYLS
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May
to August 2004 |
Top^ |
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Directors
: Yann COUDERC & Xavier HENRY
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Production
: CUBE Creative / FUTUROSCOPE
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Animation
Studio : CUBE Creative
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My
Job : Full
Sequences CG artist |
| I
have made two sequences for this full 3d dynamic
movie. The first one is the 'canyon and crateres'
that you can see below, and the other one is the
'under water'. Working alone, from modeling to final
compositing. Then I have helped my friends to do
rendering and pipeline stuff on a very big city
part. |
Software :
Lightwave, Fprime, Shake |
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IMMORTEL
(Ad Vitam)
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Nov.
2002 to Nov. 2003 |
Top^ |
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Director
: Enki BILAL
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Animation-VFX
Studio : DURAN
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My Job
: SFX / Lighting artist
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in
the SFX team I have mainly done rendering works,
but often UV & mapping, particles and some
modeling works. In fact, everything necessary
to finalize these shots that could not be done
in the classic pipeline to work to deadline.
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Softwares :
Maya
/ Lightwave , in-house 'scenes conversion' and compositing
softwares |
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LE CHAT
BOTTE
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Animation Studio :
DURAN
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Top^ |
| September
to December2004 |
My Job : Lookdev
/ Rendering TD / Lead Lighter
Very pleasant production. I have been called
mainly to key-light some shots of this teaser,
and to begin improving (with R&D) the rendering
process (workflow, pipeline, nomenclature.. )
for the futur production.
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| Director
: Pascal HEYROLD |
Softwares : Maya, Shave&Haircut,
in-house compositing software |
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SOCIETE
GENERALE
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Postproduction Studio
: MIKROS-IMAGE
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Top^ |
| February
to April 2006 |
My Job : Lead
artist, shading lighting and pre-compositing work
Research, rendering and compositing work on
this very strange concept.
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Director
: Julien TROUSSELIER
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Softwares : Maya, Arnold, Nuke, Flame
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LA POSTE
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Postproduction Studio
: MIKROS-IMAGE
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Top^ |
| October
to November 2005 |
My Job : Rendering
& pre-compositing Supervisor
I have worked on the look of the tear and setup
some Arnold's customs shaders. Then I led the
rendering's team and assist people during the
compositing process .
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Director
: Werner DAMEN
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Softwares : Maya, Arnold, Nuke, Flame |
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BUICK
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Postproduction Studio
: MIKROS-IMAGE
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Top^ |
| January
to February 2006 |
My Job : Lead
artist
First research, Animation, Rendering , Shading,
Final Compositing.
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| Director
: Eric COUANIOUX |
Softwares : Maya, Renderman, Nuke |
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TOYOTA YARRIS
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Postproduction Studio
: MIKROS-IMAGE
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Top^ |
| January
to March 2004 |
My Job : Lead
Rendering artist
I have worked from the look research before the
shooting to the final delivered shots. As you
can see on some pictures, all the shots were shooted
at 2pm with a very bright sun ! About 30 shots
to convert with a night look.
UV, Shading, Lighting of the aliens. Modeling
UV of the starship & modeling of the Toyota
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Director : Paul
STREET
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Softwares : Maya,Arnold, Discreet Inferno |
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