I was tasked with the lighting and rendering of nearly all of the shots of Miss Minutes. Since I had experience with cell shaders from working at Griffith Observatory, I was assigned to insure that the character’s shaders setting were tuned for each shot. In all of her scenes I was tasked with creating her interactive lighting as well, and making sure it read correctly on all of the practical objects varying materials. I also lit and rendered set extensions and the particle effects of the deletion batons.

On this project I worked with the asset and lighting teams simultaneously. I created curves that were used to generate and animate the magical golden patterns of their weaponry, technology and costumes. I textured and lookdeveloped the flower garden’s on the ships, as well as designed the lighting of the room in which they are displayed. Examples of the magical curves I worked on can be seen in Phastos’s technology, and in the patterns on Sersi’s chest in the video above.

We approached ‘I Am Groot’ as a fully 3D animated short, which allowed for more creative freedom in it’s lighting work. In the episode “Groot’s Pursuit,” I designed the lighting for the hall environment, and worked on the custom light rig for Groot, enabling precise control of how the light shaped him. In “Grootzilla,” I focused on lighting macro shots of the “Lilliputian” characters, emphasizing their small stature, and worked with the asset team to produce the “Lilliputian” weaponry.

I was responsible for rendering all of the interactive lighting on the field and soldiers during the portal sequence as well as all of its emissive elements on the field. I was tasked with lighting, QC-ing and managing the interactive lighting of the crowds in the stadium. This entailed doing thorough examinations of crowd caches to ensure there were no issues such as duplicates or broken animations. I worked with the FX department to identify problematic crowd agents, and make sure they were pruned.