ERIC OPERA SEQUENCE
& LOOK DEVELOPMENT

While working at Dr. D, my first task was to key-light the ‘Erik Opera’ sequence. While the sun was scripted to emerge at the end of the sequence, the overall brief called for a moody, ambient feel with long raking shadows. Between shots I look-developed FX drool & presented various optimisation techniques at team meetings. Later, my eye lighting refractions were used as examples to artists.

“THE LOOK”
& OPTIMISATIONS

Since concept art wasn’t provided for this sequence, it took several iterations before devising an appropriate solution. Fluffy snow effects were achieved by gaining subsurface components, while a traditional approach was used for character lighting with key, fills & rims. On shots with massive crowd elements & large portions of ice, single overscan frames were typically rendered & re-projected.

WORKAROUNDS
& TIMELINES

Due to the REYES render’, this project was rife with workarounds to achieve efficiencies with reflective objects & large sets. Beauty bakes, point clouds & shader overrides were implemented to achieve subtle diffuse reflections of characters & fx elements without raytracing. When deadlines were fierce shots required overnight turnarounds & 90-110 hour weeks were typical during the last 12 weeks.

PROJECT
INFORMATION
lighting td • compositor
  • Dr. D Studios (201-500 employees; Motion Pictures & Film Industry)
  • March 2011 – November 2011 (9 months, Sydney, Australia)
key lighting: eleven shots73%
73%
shot lighting: four shots27%
27%
TESTIMONIALS &
TRAILERS

It was my pleasure to work in the same team as Domenick on Happy Feet 2 at Dr D Studios. Domenick was a key lighter in my team during my time there. I found Domenick to be one of the most committed professionals I´ve ever worked with, with great dedication and attention to detail. He is also an impressive hard worker, never giving up until every detail of the shot is looking perfect, and his technical knowledge led him to anticipate and solve any technical issues that occurred on the sequences. This lead him to deliver excellent looking shots which made the sequence look amazing. His light rigs and comp templates always looked clean and clear, and he also documented his key shots explaining every step in a very professional and straight forward way, which made the teams work much easier and more productive when it came to finishing our shots and meeting deadlines with the best quality.

I whole-heartedly recommend Domenick, he would be a great asset in any production.

Antonio Carrasco Pinto

Lighting TD

I hired Domenick to work as a lighting artist on Happy Feet 2. He has handled this role very well, consistenly producing very high quality work. Domenick obviously has a very good eye for lighting and showed a good technical understanding of our rather complex toolset. He’s been able to build light rigs that worked very well for his team. I would not hesitate to recommand Domenick for any lighting role, as a keylighter or a lighter and would definitely hire him again in the future.

Mathias Lautour

Lighting Supervisor

2
The Great Gatsby
Legend Of The Guardians