DOCSLIB.ORG

Adriano Calafiore

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adriano Calafiore Adriano Calafiore VFX COMPOSITOR January 2021 PERSONAL INFORMATION Birthplace/date: Montreal (CANADA), 09 July 1984 E-mail: [email protected] Citizenship: CANADIAN and ITALIAN Mobile: (ita) +39 3396457070, (eng) +44 7868519062 Demo reel: Vimeo.com/294598512 (password protected) Website: www.adrianocalafiore.com ─────────────────────────────────────────────────────────── MAIN SKILLS COMP LOOK DEV, CGI COMP, ADVANCED KEYING & PATCHING, SET EXTENSION, PAINT&RIG REMOVAL OTHER SKILLS Video editing (Final Cut, Adobe Premiere), image editing (Adobe Photoshop), audio editing (Adobe Audition/Izotope RX Suite) ─────────────────────────────────────────────────────────── JOB EXPERIENCE 2020 November - 2021 March Sr Nuke Compositor JELLYFISH P. London (UK) 2021 Spirit Untamed 2019 May - 2020 August Sr Nuke Compositor RODEOFX Montreal (CANADA) 2020 Lovecraft Country (TV Series) 2020 Chaos Walking 2019/20 Bloodshot 2019 Jumanji 2 - The Next Level 2019 Zombieland 2 2019 IT 2 2018 November - 2019 March Sr Nuke Compositor CINESITE London (UK) 2018/9 Avengers: Endgame 2016 January - 2018 November Sr Nuke Compositor DNEG London (UK) 2018 Fantastic Beasts 2: The Crimes of Grindelwald 2018 Mission Impossible - Fallout 2018 Avengers: Infinity War 2017/8 Pacific Rim 2: Uprising 2017 Justice League 2017 Altered Carbon (Netflix series) 2017 Wonder Woman 2016 Star Trek: Beyond 2016 Jason Bourne 2016 Captain America: Civil War 2014 September - 2015 Nov. Sr Nuke Compositor MPC Vancouver (BC, CDN) 2014/5 Monster Trucks 2014 Night At Museum: Secret Of The Tomb 2013 October - 2014 July Sr Nuke Compositor MPC London (UK) 2014 Guardians Of The Galaxy 2013 June - July Nuke&Comp Teacher Imasterart Vfx School Turin (IT) - 2012 October - 2013 April Nuke Compositor Pixomondo Hamburg (DE) 2014 A Most Wanted Man 2013 Der Geschmack von Apfelkernen 2013 Rush 2013 Only Lovers left Alive 2013 After Earth 2012 June - September Nuke Compositor Martinelli Film Milan (IT) 2012 11 Settembre 1683 2012 March - May Nuke Compositor Pixomondo Hamburg (DE) 2012 Game Of Thrones - season II (TV Series) 2012 January Nuke Compositor Mercurio Domina Milan (IT) 2012 True Love 2011 December Nuke Compositor Fast Forward Milan (IT) commercials 2011 June - August Nuke Compositor Animoka Studios Turin (IT) 2011 Black to the Moon 2011 March - April Nuke Compositor Fast Forward Milan (IT) commercials 2011 February - March Shake Compositor Mercurio Domina Milan (IT) commercials 2010 Sept. - Dec. (Internship) Jr Shake Compositor E.D.I. Milan (IT) 2010 La banda dei Babbi Natale 2009 Oct. - Dec. (Internship) Rotopaint artist Azione! Milan (IT) commercials ─────────────────────────────────────────────────────────── EDUCATION & QUALIFICATIONS 2010 MASTER in “VFX & COMPOSITING” at ‘Virtual Reality Multimedia Park’ in Turin (IT) 2007 DEGREE at University of Milan (IT) in “Applied Digital Communications” - Thesis on “Technologies and techniques in Video Compositing. Analysis and Insights” 2004 HIGH SCHOOL DIPLOMA of “IT specialyst” obtained at “Technical Institute G. Fauser” – Novara (IT) 2003 ECDL (‘European Computer Driving Licence’) Certification ─────────────────────────────────────────────────────────── LANGUAGES ENGLISH: proficient ITALIAN: mother tongue ─────────────────────────────────────────────────────────── PERSONAL ATTITUDES Attention to precision and quality, confident in delivering under the pressure of tight deadlines, very good attitude to expand my knowledge and improve already known subjects, to interact with others, to work in team INTERESTS & HOBBIES Cinema, VFX and CGI movies, Photography, Technology, Music (I play piano, guitar and drums) ─────────────────────────────────────────────────────────── OTHER SKILLS Knowledge of programming languages and meta-lang.: COBOL, SQL, DB2, JCL; C, JAVA, PHP, XML, HTML OTHER JOB EXP. 2009 IBM mainframe programmer at CSC, in Milan, (USA based multinational IT company), using COBOL, SQL, DB2, CICS. I have been working as a team member in a Payment Systems project for an Italian national bank 2008 IT expert at TOP SOFT, in Novara, (IT consulting company), either in hardware and software, with particular reference to Windows platforms - I authorize to use my personal data in base of law 675/1996 on the Privacy Protection - .
Load more

Recommended publications
  • Press Release
    _ ____ Press release Emmy nomination for Mackevision’s visual effects in “Lost in Space” ° Netflix has the most nominations for the Emmy Awards ° Second Emmy nomination for Mackevision and second Emmy nomination for Prof. Juri Stanossek, VFX Supervisor Stuttgart, 13th July 2018 — The Emmy award nominations were announced on Thursday. Netflix leads the field with a total of 122 nominations, including the successful series “Lost in Space”. Prof. Jury Stanossek, VFX Supervisor at Mackevision, has been nominated for the Emmy in the category “Outstanding Visual Effects” together with other VFX supervisors. “I am overwhelmed and incredibly grateful for the nomination. Above all, I am proud of the team whose work laid the foundation for the nomination. I would like to express my deepest thanks to our VFX Producer, Marina Winter, who has done an incredible job” said Juri Stanossek. “35 artists worked on seven episodes over a period of six months and created 75 shots. We are especially proud of the Jupiter spaceship model because it has a strong presence in every episode of the series.” For Stanossek, this is the second Emmy nomination in the course of his career. In 2012, he received both an Emmy award and an award from the renowned American organization “Visual Effects Society” for his work on the second season of “Game of Thrones”. Led by the VFX supervisors Jabbar Raisani, Terron Pratt and Marion Spates, Mackevision was one of multiple VFX companies operating worldwide that transformed “Lost in Space” into a superlative fantasy experience. Mackevision provided digitally rendered scenes featuring the computer-generated spaceship Jupiter (including the start sequence, spatial explosion) along with digital creatures and digital environments.
    [Show full text]
  • FILMING in GERMANY MARCH 2021 MARCH Production Service Soft Money Incentives
    PRODUCTION SERVICE PRODUCTION FILMING IN GERMANY MARCH 2021 MARCH Production Service Soft Money Incentives STUDIOBABELSBERG.COM WE LOVE MAKING MOVIES SOFT MONEY Up to 25% Cash Rebate INCENTIVES plus regional soft money The German federal government as well as regional film internationally co-produced feature films, high-end series and funds support filmmakers by a one-of-a-kind film production VoD formats with large budgets. In addition, a number of re- rebate program totalling EUR 350 million. gional film funds provide efficient support to productions of any budget. Many German states grant funds and additional The established German Federal Film Fund (DFFF) with soft money depending on the regional spend. its two columns DFFF I and DFFF II contributes annually EUR 120 million to stimulate production activities in the film The German film production rebate is internationally reco- industry. International producers can apply for a rebate of up gnized. Numerous well-known productions have benefited to 25% for their spend on the ground. from the incentive program in the last years, among others The Reader, Inglourious Basterds, The Grand Budapest Hotel, With a yearly volume of EUR 30 million, the German Motion Bridge of Spies or The Hunger Games: Mockingjay, and Picture Fund (GMPF) additionally supports the production of series as Homeland, Berlin Station, Counterpart and Dark. Studio Babelsberg is your reliable partner for all incentive, soft money and financing solutions • Access the 25% rebate and regional subsidies • Build cost-effective
    [Show full text]
  • Greater Montréal's Booming VFX Industry
    Greater Montréal’s Booming VFX Industry Blade Runner 2049 © Framestore Content 01 02 03 04 A Leading Edge A Very Creative Attractive Operating Montréal Ecosystem Workforce Costs International’s p.04 p.15 and Incentives Personalized, p.22 Free and Confidential Services p.29 Montréal’s VFX industry Key facts A leading edge ecosystem A very specialized workforce Competitive costs & tailored made incentives One of the largest hubs in the world with Close to 4,000 2D/3D animation and 28% cost advantage compared to the the highest industry concentration in VFX specialists in the audiovisual sector average of the 20 largest metropolitan Canada areas in Canada and the U.S. for ICT Full-service industry made up of tool Labour pool expected to reach 5,000 Competitive employee salaries paired developers, animation, production and experts by the end of 2020 with an affordable cost of living post-production studios, etc. Global success of VFX made in . More than 15,000 university students Up to 43% tax incentives for film Montréal: Blade Runner 2049, 2018 in IT related programs and close to production services Oscar winner for best visual effects; X- 2,300 in arts and cinema Men Apocalypse; Star Wars - The Force . Close to 3,000 college students in Awakens; Game of Thrones arts and cinema related programs 3 01 A Leading Edge Ecosystem Mural painting representing Leonard Cohen © Henry MacDonald Montréal’s VFX industry Key metrics 1st city in Canada and a world leader in VFX & animation . Close to 4,000 2D/3D animation and VFX specialists . Labour pool expected to reach 5,000 experts by the end of 2020 .
    [Show full text]
  • Final Copy 2020 06 23 Niu
    This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
    [Show full text]
  • Hugo Cabret - Hugo
    Hugo Cabret - Hugo Scheda per i più grandi (Scheda a cura di Simonetta Della Croce) CREDITI Regia: Martin Scorsese. Soggetto: tratto dalla graphic novel “La straordinaria invenzione di Hugo Cabret” di Brian Selznick. Sceneggiatura: John Logan. Fotografia: Robert Richardson. Musiche: Howard Shore. Montaggio: Thelma Schoonmaker. Scenografia: Dante Ferretti, Francesca Lo Schiavo. Arredamento: Dorothée Baussan. Costumi: Sandy Powell. Effetti: Rob Legato, Joss Williams, Ben Grossmann, Alex Henning, With a Twist Studio, Mark Roberts Motion Control, Pixomondo. Interpreti: Asa Butterfield (Hugo Cabret), Ben Kingsley (Papa Georges/Georges Méliès), Chloë Grace Moretz (Isabelle), Sacha Baron Cohen (Gustave, Ispettore Ferroviario), Ray Winstone (Zio Claude), Emily Mortimer (Lisette), Jude Law (Padre di Hugo), Christopher Lee (Sig. Labisse), Michael Stuhlbarg (René Tabard), Helen McCrory (Mamma Jeanne), Ben Addis (Salvador Dali) Richard Griffiths (Sig. Frick), Frances de la Tour (Emilie), Angus Barnett (Manager del teatro), Gulliver Mcgrath (René Tabard da giovane), Emil Lager (Django Reinhardt), Johnny Depp (Sig. Rouleau). Produzione: GKFilms. Origine: USA. Anno di edizione: 2012. Durata: 125’. Sinossi Il piccolo Hugo vive nascosto nella Gare Montparnasse di Parigi. Rimasto orfano, si occupa di far funzionare i tanti orologi della stazione ferroviaria e coltiva il sogno di aggiustare l'uomo meccanico che conserva nel suo nascondiglio e che rappresenta tutto ciò che gli è rimasto del padre. Per farlo, sottrae gli attrezzi di cui ha bisogno dal chiosco
    [Show full text]
  • Than Digital Makeup: the Visual Effects Industry As Hollywood Diaspora
    More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora By Sarah K. Hellström Department of Cinema Studies Master’s Thesis 15 hp Master Course 30 hp, VT 2013 Supervisor: Dr. Patrick Vonderau If I hear one more person who comes up to me and complains about [how]‘computer-music has no soul’ then I will go furious, you know. ‘Cause of course the computer is just a tool. And if there is no soul in computer-music then it's because nobody put it there and that's not the computers role, it's the role of the songwriter. He puts down his soul in the song if he wants to. A guitar will never write a song and a computer will never write a song, these are just tools.i - Björk Title: More Than Digital Makeup: The Visual Effects Industry as Hollywood Diaspora Author’s name: Sarah K. Hellström Supervisor: Dr. Patrick Vonderau Abstract This thesis assesses the marginal field (niche unit) of visual effects while taking into account visible and invisible vfx in virtual and actual geographies in Hollywood movies as part of industry-level studies, all the while seeking to bridge the gap between traditional, theoretical approaches of cinema studies and practitioner experience in the context of production culture. The focus of this essay remains on the many temporal aspects of production processes that identify vfx film production as chief, and vfx for television as subsequential. Encouraging scholars to consider a previously limited and repeatedly mislabeled area by demonstrating the pandemic presence of effects and its workers as a form of Hollywood diaspora, this thesis also seeks to demonstrate the need for involvement by means of scholar-practitioner methodologies.
    [Show full text]
  • Rainergombos Resume VFX Word6
    Rainer Gombos, VFX Supervisor [email protected] work experience: Visual Effects Supervisor on "Beautiful Creatures”, Pixomondo, Los Angeles 08/12 – 11/12 • VFX supervision of around 260 VFX shots, produced in Pixomondo branches • Full CG digital environments, CG creatures & CG FX for spells and magic; complex paint work Visual Effects Supervisor on "Game Of Thrones, Season 2”, HBO, Los Angeles 05/11 – 05/12 • Overall VFX supervision of all 10 episodes • VFX supervision and set-supervision of 875 VFX shots • Directed the shoot of VFX heavy scenes, VFX plate and element shoot • VFX concept design and previs, digital environments, creatures, gore, water, fire, smoke and explosions Visual Effects Supervisor on Fast and Furious 5 "Fast Five”, Pixomondo, Los Angeles 07/10 – 04/11 • VFX supervision of 367 VFX shots • Digital environments, CG cars & CG vault, digital smoke, destruction; complex paint work Visual Effects Supervisor on “Sucker Punch”, Pixomondo, Los Angeles 08/09 – 08/10 • VFX supervision of 268 VFX shots • Supervised a team of 107 artist in 5 international Pixomondo branches • VFX concept design, “Full CG” shots, digital environments, explosions, fire, smoke, character animation Visual Effects Supervisor on “2012”, Pixomondo, Los Angeles 06/08 – 07/09 • setup of first Pixomondo VFX production studio in Los Angeles • supervised pre-visualization of more than 450 VFX shots • VFX supervision of 98 VFX shots • “Full CG” shots, destruction, snow, fire and smoke simulation, CG animals, digital environments Visual Effects Supervisor
    [Show full text]
  • Case Study: NVIDIA Quadro K4000 Helps Pixomondo Create Alien
    NVIDIA® QUADRO® K4000 HELPS TUDY PIXOMONDO CREATE ALIEN WORLDS S FOR STAR TREK INTO DARKNEss PIXOMONDO CASE Pixomondo is an international visual effects company that utilizes a 24-hour production cycle enabled by a global network of facilities for feature film, television and commercial projects. Recognized with an Academy Award™ for HUGO and an Emmy Award™ for the second season of Game of Thrones, the company’s artistic prowess is further evident in its stunning visual effects work for J.J. Abram’s epic Star Trek Into Darkness. Working with unprecedented scene scale, Pixomondo created about 300 shots for Star Trek Into Darkness, approximately one third of the film’s visual effects. As with most of the company’s larger projects, shots were distributed throughout Pixomondo’s worldwide studios ©2013 Paramount Pictures. Image courtesy of Pixomondo. based on available bandwidth and individual strengths, with the Los Angeles office serving as the lead. strained Pixomondo’s workstations, hampering Ben Grossmann was Pixomondo’s overall VFX supervisor performance and frustrating artists. on the project, with Enrico Damm managing the 25 CG artists in Los Angeles responsible for one of the most When using Autodesk 3ds Max 3D modeling, animation and action-packed sequences of the film. In the 15-minute rendering software, artists encountered response times scene, an alien planet slowly comes into view as seen from of more than an hour in some of these massive scenes, an aircraft. The vehicle then descends through the clouds often freezing a system outright on their artist and is forced to land. With about 80 VFX shots, the workstations running older model, low-powered GPUs.
    [Show full text]
  • BJØRN MAYER VFX Supervisor
    BJØRN MAYER VFX Supervisor FEATURES Partial List DIRECTORS PRODUCERS/STUDIOS THE DARKEST MINDS Jennifer Yuh Nelson John Starke / Fox VFX Supervisor XXX: THE RETURN OF XANDER CAGE D.J. Caruso Maple Cage Productions VFX Supervisor - Pixomondo Paramount Pictures RIDE ALONG 2 Tim Story Julia Neighly / Universal Pictures VFX Supervisor - Pixomondo GONE WITH THE BULLETS Wen Jiang Emperor Film Production Division VFX Supervisor Columbia Pictures THE HUNGER GAMES: MOCKINGJAY PART 1 Francis Lawrence Julia Neighly / Color Force VFX Supervisor - Pixomondo Lionsgate OBLIVION Joseph Kosinski Universal Pictures VFX Supervisor - Pixomondo THE HUNGER GAMES Gary Ross John Parenteau / Lionsgate VFX Co-Supervisor - Pixomondo RED TAILS Anthony Hemingway Rod Park / Twentieth Century Fox VFX Supervisor - Pixomondo HUGO Martin Scorsese Paramount Pictures Matte Painting and Environmental Artist - Pixomondo FAST FIVE VFX On-Set Supervisor Justin Lin Universal Pictures THE RITE Mikael Hafstrom Jennifer Silver VFX Supervisor - Pixomondo New Line Cinema / Warner Bros. THE LAST AIRBENDER M. Night Shyamalan Cindy Jones / Paramount Pictures VFX Supervisor THE NIGHTMARE ON ELM STREET Samuel Bayer Cindy Jones / New Line Cinema VFX Supervisor - Pixomondo PERCY JACKSON & THE OLYMPIANS: Chris Columbus Fox 2000 Pictures THE LIGHTNING THIEF VFX Supervisor - Pixomondo KILL DADDY GOOD NIGHT Michael Glawogger Degeto Film VFX On-Set Supervisor NINJA ASSASSIN James McTeigue Warner Bros. VFX On-Set Supervisor 2012 VFX Artist - Pixomondo Roland Emmerich Columbia Pictures TELEVISION
    [Show full text]
  • 2013 Feature Film Production Report
    2013 Feature Film Production Report © 2014, FilmL.A. Research 6255 W. Sunset Blvd., 12th Floor ● Los Angeles, CA 90028 ● 213.977.8600 ● www.filmla.com About this Report This report is the product of independent research conducted by FilmL.A, Inc. FilmL.A. is Los Angeles’ regional film office, serving the City and County of Los Angeles and an ever‐increasing roster of local municipalities. Providing streamlined permit processing, comprehensive community relations, marketing services, film policy analysis and more to these jurisdictions, FilmL.A. works to attract and retain film production in Greater Los Angeles. Integral to FilmL.A.’s work is ongoing research into the benefits that local filming brings to the Los Angeles region. To that end, the company maintains an internal research division devoted to the production, collection and dissemination of information regarding the U.S. film production economy. On behalf of everyone at FilmL.A. and those who depend on local entertainment production for their livelihoods, we thank you for your interest in this report. If you have any questions about the content herein, the authors welcome your inquiries. Adrian McDonald, Lead Research Analyst FilmL.A. Research 6255 W. Sunset Blvd., 12th Floor Hollywood, CA 90028 213.977.8636 www.filmla.com Executive Summary This study is the result of approximately six months of independent research performed by FilmL.A., Inc., the film office for the greater Los Angeles region. It began with a desire to better quantify the negative effects of runaway production on California’s signature feature film industry. FilmL.A. Research endeavored to track the movies released in 2013 to determine where they were filmed, why they filmed in the locations they did, and how much was spent to produce them.
    [Show full text]
  • Game of Thrones
    2012 ISSN 1433-2620 > B 43362 >> 16. Jahrgang >>> www.digitalproduction.com Deutschland € 14,95 Published by Österreich € 17,– 5 Schweiz sfr 23,– MAGAZIN FÜR DIGITALE MEDIENPRODUKTION SEPTEMBER | OKTOBER 05|12 Pixomondo erobert Westeros Game of Thrones Cinema 4D R14 Element 3D Maya 2013 Seit wann kann C4D Animation für Adobes Workflow-Winner oder sculpten? After Effects Pflicht-Update? AKTUELL FILM & VFX 3D & ANIMATION INTERACTIVE INDUSTRIE DIGITAL ARTSCIENCE & EDUCATION SERVICE GGameame ooff TThroneshrones in München und Stuttgart Sommer, Sonne, Fantasy. Die Effekt- schmiede Pixomondo wurde zuletzt mit dem Effekte-Oscar für ihre Ar- beit mit Martin Scorsese an „Hugo Cabret“ ausgezeichnet. Ein weiteres Highlight ist aber die Arbeit an der US-amerikanischen Fantasy-Serie „Game of Thrones“, für die jede Menge Set-Extensions, Feuer spei- ende Drachen und ein fieses Schat- tenwesen erstellt wurden. DP traf die Pixomondo VFX-Supervisor Juri Stanossek und Sven Martin auf dem diesjährigen Animation Meeting. von Bela Beier er MedienCampus Bayern und filmtools Consult veranstalteten diesen Juli das D15. Animation Meeting im Rahmen des Filmfests München. Wie immer präsentierten Referenten aktuelle Projekte. Mit dabei waren diesmal unter anderem Jonathan Weber von rise|fx, der die Zuschauer hinter die Kulissen der aufwendig inszenierten TV-Serie „Bor- gia“ führte. Den Großteil der Veranstaltung bestritt Pixomondo, zum einen mit den Effek- ten zu „Hugo Cabret“ (siehe DP 2:12) – und zu der mittlerweile gefeierten und vielfach prä- mierten TV-Serie „Game of Thrones“. Die TV-Serie basiert auf dem Roman-Zy- klus „Das Lied von Eis und Feuer“ von George und Sven Martin über die zweite Staffel von also haben wir auch in der Film-Pipeline mit R.
    [Show full text]
  • Compositing Reel 2017 - Breakdown
    Compositing Reel 2017 - Breakdown Game of Thrones: Season 7 | Pixomondo - Stuttgart, Germany Contribution: shore line repositioning / cg gate integration / matte painting integration / final compositing (NukeX) Game of Thrones: Season 7 | Pixomondo - Stuttgart, Germany Contribution: plate prep / greenscreen extraction / cg hand integration / fire element integration / final compositing (NukeX) Live by Night | Pixomondo - Stuttgart, Germany Contribution: cg building integration / final compositing (NukeX) Captain America: Civil War | RiseFX - Stuttgart, Germany Contribution: plate prep / cg shield integration / final compositing (NukeX) The Dark Tower | Pixomondo - Stuttgart, Germany Contribution: plate prep / cgfx glass integration / gunfire and smoke elements integration / final compositing (NukeX) The Dark Tower | Pixomondo - Stuttgart, Germany Contribution: plate prep / cgfx glass integration / smoke elements integration / final compositing (NukeX) Live by Night | Pixomondo - Stuttgart, Germany Contribution: foreground reconstruction / cg building integration / compositing (NukeX) Game of Thrones: Season 7 | Pixomondo - Stuttgart, Germany Contribution: plate retime / cg hand integration / final compositing (NukeX) Game of Thrones: Season 7 | Pixomondo - Stuttgart, Germany Contribution: cg hand integration / matte painting integration / final compositing (NukeX) Game of Thrones: Season 7 | Pixomondo - Stuttgart, Germany Contribution: sequence lead compositor / lookdev / cg rock integration / final compositing (NukeX) Compositing Reel
    [Show full text]