Demo Reel 2013 from Elizabeth Brayton on Vimeo.
|Details by segment|
Chasm - Shot B15
- importing shot assets
Details:This shot was added very near the end of production. To reduce render load, which was needed elsewhere, we determined that still layers could be used to approximate the camera move. I was given charge of making it happen.
In Houdini I lit the scene using a strong key through the window and a bounce to bring out the character. A couple objects in the scene distracted from the focus of the shot, so they were moved or removed. I then rendered out three layers: environment, mechanical wings, and character.
In Nuke, after tweaking to the director's liking, I animated a different zoom on the background and the character to get the paralax effect for a slight zoom. Rays coming in from the window created enough visual interest to sell it.
|Nuke network for Chasm - Shot B15|
Chasm - Shots in C
- render wrangling/troubleshooting
Details:I was given charge of renders from the first half of this sequence. Lighters & FX rendered their shots out, but I made sure they were working and were up to standard. I had to re-render frames that broke or break a render up into layers to speed up the compositing process.
Once I had the renders, I composited them together in Nuke with matte paintings and effects.
|Nuke network from Chasm - Shot C1|
Sheriff - Crowd Chickens
- fix existing lighting & add lighting where needed
- optimize shaders to reduce render times
- repaint hen shader to improve detail
Details:Sheriff is still in production at BYU. I was asked to pick up where other students had left off in lighting, rendering, and compositing 3D chickens into live footage.
The closer crowd chicken shots showed that there was insufficient detail in the existing color maps, so I painted in more texture and definition. I also created a specular map so the head area would appear shinier than the feathers.
|Old hen shader & texture|
|My new shader & texture|
The existing shader on the chicks was prone to glitches, so I dug in and we found that the subsurface was causing the problem. Given the size of the chicks, subsurface wasn't really necessary at render time since the same look could be created in composite.
Estefan - Sequence F
Details:I matched art direction given after lighting was finished by drastically modifying the background and adding shadows in composite. The directors decided this background should be applied to the rest of the sequence for continuity. I was asked to add in the background to existing compositing networks. The shot shown is the one for which I did both lighting and compositing.
I included the render out of Maya to show the drastic change in direction that was handled in Nuke rather than requiring re-rendering.
|Nuke network for Estefan - Sequence F|
Estefan - Shot D8
- iterating on floor-wipe effect
Details:The shape of the red color leaving the room went through many iterations. A couple examples of previous designs:
|Watch this clip on Vimeo|
|Shape variations on Estefan's floor-wipe shot|
The above are all BYU animated short films I worked on.
Realistic Fruit Project
Details:This was an assignment for the Shader Programming course at BYU. Using Maya, I modeled this pear and added coarse-grained surface variation. Using Slim & Renderman for Maya, I created a shading network which was fully procedural (except for the map to separate the stem from the fruit). Then I lit it to best show off the shape, texture and specular variation.
Details:This was also an assignment for Shader Programming. As above, I used Slim/Renderman to develop a texture/shading network that mimicked marbles. Then I composited it into the photo.
Raytracer in JavaFor my Computer Graphics course, I coded up this simple raytracer in processing, a program for rapid graphics programming. The raytracer currently features ray-sphere intersection with a point light source. It uses a Phong illumination implementation.
Any questions? Email me!