Lighting and Compositing
Name of the Project: PeanutButter Jelly
Software Used: Autodesk Maya, Nuke, Renderman
Description: The following are scenes from the animated short: PeanutButter Jelly. I used Autodesk Maya to light all of the scenes, Renderman to render the different passes, and Nuke to composite all elements of the shots together. I modeled and created light rigs in Maya for the crashed P51 Mustang, and used advanced compositing techniques including: deep compositing for dust and bubble FX, depth fog, light wrap, camera blur, and z-defocus to name just a few. For more information please see the breakdowns for each shot.
To see the finished short visit the projects page
Shot 06: The Flyboy Jelly
Software Used: Autodesk Maya, Nuke, Renderman
Description: The following are scenes from the animated short: PeanutButter Jelly. I used Autodesk Maya to light all of the scenes, Renderman to render the different passes, and Nuke to composite all elements of the shots together. I modeled and created light rigs in Maya for the crashed P51 Mustang, and used advanced compositing techniques including: deep compositing for dust and bubble FX, depth fog, light wrap, camera blur, and z-defocus to name just a few. For more information please see the breakdowns for each shot.
To see the finished short visit the projects page
Shot 06: The Flyboy Jelly
Shot 10: Punch Zoom
Shot 15: Cannonball Dust Hits
Shot 16: Pirate Jelly Reacts
Name of the Project: Misfit Mice
Mentored by: Moondog Animation
Software Used: Autodesk Maya, Nuke, Renderman
Description: The following are scenes from the animated short: Misfit Mice. I used Autodesk Maya to light all of the scenes, Renderman to render the different passes, and Nuke to composite all elements of the shots together. I created light rigs for surfacing and Lighting, the initial light rig for fx. These light rigs were shared across all shots. I also set up all the render layers and passes for the lighting artists, created first couple lighting iterations on for all shots as well as set up the comp nuke trees for all shots before distributing to other artists. Was sole responsible for lighting rendering and comp work on the last shot (apart from actually rendering the fx from Houdini)
To see the finished short visit the projects page
Shot 05: The Dramatic Reveal
Mentored by: Moondog Animation
Software Used: Autodesk Maya, Nuke, Renderman
Description: The following are scenes from the animated short: Misfit Mice. I used Autodesk Maya to light all of the scenes, Renderman to render the different passes, and Nuke to composite all elements of the shots together. I created light rigs for surfacing and Lighting, the initial light rig for fx. These light rigs were shared across all shots. I also set up all the render layers and passes for the lighting artists, created first couple lighting iterations on for all shots as well as set up the comp nuke trees for all shots before distributing to other artists. Was sole responsible for lighting rendering and comp work on the last shot (apart from actually rendering the fx from Houdini)
To see the finished short visit the projects page
Shot 05: The Dramatic Reveal
Shot 01: Establishing Shot
Lighting and Initial comp
Lighting and Initial comp
Shot 03: The escape and lamp flickering
Initial lighting and initial comp
Initial lighting and initial comp
Shot 04: Turn around
Initial lighting and initial comp
Initial lighting and initial comp
Name of the Project: To Shell And Back
Mentored by: Dreamworks SKG
Software Used: Autodesk Maya, Nuke, Renderman
Description: Lead of Rigging, Lighting, Rendering, and Compositing on a 4 person team in an intense 10 week Summer program designed to create a professional quality animated short. Directly mentored by Dreamworks Animation artists. Responsible for rigging the main character and all of the props, creating the production's Nuke trees for lighting and comp, Lighting, Rendering, and Compositing of all of the shots, Optimizing render times so the whole short could be re rendered in less than 24 hours if needed. Performing Technical Artist support for surfacing, layout and animation. Completed an animated production in a new, in development production pipeline, and created artist workflow documentation for 90% of the new pipeline. Created scripts to speed up artist workflow and organized files for reviews. Worked mandatory 100+ hour work weeks.
To see the finished short visit the projects page
Mentored by: Dreamworks SKG
Software Used: Autodesk Maya, Nuke, Renderman
Description: Lead of Rigging, Lighting, Rendering, and Compositing on a 4 person team in an intense 10 week Summer program designed to create a professional quality animated short. Directly mentored by Dreamworks Animation artists. Responsible for rigging the main character and all of the props, creating the production's Nuke trees for lighting and comp, Lighting, Rendering, and Compositing of all of the shots, Optimizing render times so the whole short could be re rendered in less than 24 hours if needed. Performing Technical Artist support for surfacing, layout and animation. Completed an animated production in a new, in development production pipeline, and created artist workflow documentation for 90% of the new pipeline. Created scripts to speed up artist workflow and organized files for reviews. Worked mandatory 100+ hour work weeks.
To see the finished short visit the projects page
Name of the Project: Space Composite
Software Used: Autodesk Maya, Nuke
Description: This is a space scene with an earth that I rendered out of Maya with a custom shader that changed the day/ night cycle on the earth surface depending on the angle of the directional light in the scene, and comped together in Nuke. I rendered out the Earth with a complete day/ night cycle so that I could match the live ship element's lighting as close as possible. I then attached the different elements onto cards and assembled the image back together using Nukes 3D tools. This gave me a greater degree of control as well as a 2.5D parallax effect when animating the camera. Other features include camera dirt and flares when the sun comes into the view of the camera. Images from NASA.
Software Used: Autodesk Maya, Nuke
Description: This is a space scene with an earth that I rendered out of Maya with a custom shader that changed the day/ night cycle on the earth surface depending on the angle of the directional light in the scene, and comped together in Nuke. I rendered out the Earth with a complete day/ night cycle so that I could match the live ship element's lighting as close as possible. I then attached the different elements onto cards and assembled the image back together using Nukes 3D tools. This gave me a greater degree of control as well as a 2.5D parallax effect when animating the camera. Other features include camera dirt and flares when the sun comes into the view of the camera. Images from NASA.
Space Light and Comp from Kevin Boggs on Vimeo.
Name of the Project: Bedroom Lighting and Compositing
Software Used: Autodesk Maya, Nuke
Description: This is a bedroom scene in Autodesk Maya, and composited in Nuke using Mental Ray. The geometry is a modified scene from 3drender.com
Software Used: Autodesk Maya, Nuke
Description: This is a bedroom scene in Autodesk Maya, and composited in Nuke using Mental Ray. The geometry is a modified scene from 3drender.com
Name of the Project: Interior Lighting and Compositing
Software Used: Autodesk Maya, Nuke
Description: This is a composite of an interior scene I modeled, textured, lighted in Autodesk Maya, and composited in Nuke using Mental Ray and a linear workflow. I created separate render passes for each of the various lights in the scene to give myself a lot of control when I composited it back together. I made 2 different Nuke trees, a large tree that shows everything that is happening, and a more compact and efficient tree that does the same thing as the original but with a fraction of the space using group nodes. Each of the 7 light layers has the following render passes:
Software Used: Autodesk Maya, Nuke
Description: This is a composite of an interior scene I modeled, textured, lighted in Autodesk Maya, and composited in Nuke using Mental Ray and a linear workflow. I created separate render passes for each of the various lights in the scene to give myself a lot of control when I composited it back together. I made 2 different Nuke trees, a large tree that shows everything that is happening, and a more compact and efficient tree that does the same thing as the original but with a fraction of the space using group nodes. Each of the 7 light layers has the following render passes:
- Diffuse
- Indirect
- Specular
- Reflection
- Refraction
- Translucence
- Incandescence
- Depth
- Ambient Occlusion