The second of 3 Looney Tunes shorts I worked on in 2011 just released and I’m excited to show some of the shots I worked on. My main contribution was master lighting the main part of the theater and handling the wide shots. I also lit the sequence of shots where Daffy is swinging around on the cloud and sun props.
Below is the color key for the theater and my final master lighting on the right. Bringing to life an amazing piece of concept art is what I enjoy most about lighting.
images copyright 20th Century Fox
During the middle of this year I took a quick break to help out on the Mammoth Christmas team. Which worked out great because I was assigned keyshots for 3 colorful sequences at the Northpole. The northern lights were quite tricky but I’m happy with how they turned out.
It isn’t often you get to be a part of something you loved as a child. This year I contributed to three Looney Tunes shorts, and my favorite was this Sylvester and Tweety short which released in front of Happy Feet 2. I love the clean graphical style with bold colors. I was responsible for master lighting and compositing. The shots were dynamic with lots of effects, camera moves, and strong acting.
Below is a sequence of 4 shots I worked on. I was responsible for master lighting the environment, lighting the characters, and compositing the shots and effects. Checkout my updated reel to see them in action.
images copyright Warner Bros.
Back in the fall of 2010 I was lighting supervisor on four animated sequences for Judy Moody and the not Bummer Summer. I also did the master lighting on the Niagara falls sequences. It was a fun challenge integrating all the water FX.
images copyright Sony Picture Imageworks
I’m really pleased with how Open Season 3 turned out. The art director Andy Gaskill designed a gorgeous show and every sequence was a challenge. Above are a few of my keyshots. This show truly was a lesson in color.
Below are two of the sequences I lead. The first was a challenge because over 60 shots the time shifted from early afternoon, to late afternoon, then cuts to dusk. Each time had a distinct colorkey, key direction, and color temperature. My solution was a lighting rig that could shift to each time of day and still be flexible for the shot lighter. Nuke had a corresponding slider that controlled color temperature and values.
The second was a theatrical situation where lights and color were constantly changing, spots following characters & lots of quick cuts. The lighting was a big part of the story and I’m really happy how well my team delivered.
