I joined near the end of the project to help with the delivery, taking over the unit to resolve complex technical challenges and clear existing workflow bottlenecks. I was responsible for the CG delivery of 347 shots, overseeing 50% of the unit's lighting and 30% of its layout. I led the methodology for motion-control and array camera rigs moving through our 3D scenes, resolving several complex shots that had not yet been ironed out in the pipeline. I lent a hand debugging multiple issues that became production blockers. During the final crunch, as always, I produced critical render and storage forecasts to guide resource allocation and helped resolve cross-site workflow logistics, which mattered because the array camera rigs generated an unusually large volume of data, which was unique to this show.
I joined near the end of the project to help with the delivery, taking over the unit to resolve complex technical challenges and clear existing workflow bottlenecks. I was responsible for the CG delivery of 347 shots, overseeing 50% of the unit's lighting and 30% of its layout. I led the methodology for motion-control and array camera rigs moving through our 3D scenes, resolving several complex shots that had not yet been ironed out in the pipeline. I lent a hand debugging multiple issues that became production blockers. During the final crunch, as always, I produced critical render and storage forecasts to guide resource allocation and helped resolve cross-site workflow logistics, which mattered because the array camera rigs generated an unusually large volume of data, which was unique to this show.
I joined near the end of the project to help with the delivery, taking over the unit to resolve complex technical challenges and clear existing workflow bottlenecks. I was responsible for the CG delivery of 347 shots, overseeing 50% of the unit's lighting and 30% of its layout. I led the methodology for motion-control and array camera rigs moving through our 3D scenes, resolving several complex shots that had not yet been ironed out in the pipeline. I lent a hand debugging multiple issues that became production blockers. During the final crunch, as always, I produced critical render and storage forecasts to guide resource allocation and helped resolve cross-site workflow logistics, which mattered because the array camera rigs generated an unusually large volume of data, which was unique to this show.
Role
Role
CG Supervisor
CG Supervisor
Client
Client
Universal Pictures
Universal Pictures
Vendor
Vendor
DNEG
DNEG
Location
Location
London
London
Year
Year
2023
2023
