“Lead by VFX Supervisor David Seager and VFX, MPC completed more than 250 shots. The team focused on the action packed finale and work included creating a 1970’s Times Square, a 2D no-ghost cartoon, a 300 foot tall 3D character and extensive FX work. Music: "Raw" by NicolasTecher www.nicolastecher.com © 2016 Columbia Pictures Industries, Inc. and Village Roadshow Films Global Inc. All Rights Reserved.”

MPC posted this awesome breakdown of some of the shots created for Ghostbusters. I helped out on FX for several shots but I specifically worked as the lighting artist on the Slimer shot and the Ecto1 car falling into the portal shot!

0:13 I did a rerender of the ghost lighting passes for the ghost that flies by the camera. I also rendered out an interactive light pass for the fire elements on the building. Main ghost artist for this and many other shots Daniel Banos. Show lead lighting artist Alan Hernandez.

1:46 I lit everything in the background for this shot. The cg buildings, the portal crater, and shot specific portal splash lighting. It was difficult to get the look correct on the dense simulation for the splash. The show was lit using Renderman RIS for all the background elements and REYES for the volumes and fx. There were a lot of passes and elements to keep track of on this shot and quite a bit of technical troubleshooting. But when it all comes together you get a cool end product!

1:58 I did the lighting for this shot Slimer shot. There were even more elements to keep track of in this one than the previous shot. A seperate rig needed to be imported for the police vehicles to have light on the buildings. The whole shot rig needed turned up for an aerial view. The portal needed a special light rig and adjusted shaders created because the splash was dense and would get very noisy because we were so far away. The tornado volumes went through several iterations to try to get the right amount of depth and shading. Lighting a cylinder of volumes from the inside without blowing out the details is quite a challenge! The slimers needed to glow but also cast shadows on the Ecto1 seat behind them. Several passes were created using glowing mesh lights and other shaders to get just the right amount of glow that didn't destroy the shadows. Mrs. Slimer also needed her nail polish adjusted. I used mine as reference. The slimers were lit with lights parented to their eyes (to brighten their expression). The traveled very, very far during the explosion. Higher than a city skyscraper! They needed a special light rig to travel through various pools of light on their trip up and down. Additional credit to Alex Stockwell (tornado volumes and tornado debris spec pass solutions), Alex Ley (additional work on the tornado volumes), Alan Hernandez (additional work on slimer in shot look development).

Ghostbusters makes its long-awaited return, rebooted with a cast of hilarious new characters.

I've got a few shots in the latest Ghostbusters Official Trailer #2.

The video above showcases all the shots I worked on while at Powerhouse VFX on the Orville New Horizons team. The company was excellent sharing not only shot files but amazing breakdown videos for some of our key shots.

I joined the Powerhouse VFX team in March of 2022 as a remote lighting artist. The studio utilizes Houdini as their main 3D software, including rendering in Houdini’s native renderer Mantra. Throughout my time at Powerhouse VFX I focused mainly on lighting for the season finale wedding sequence. The main goal for the shots was to match the CG Kaylons with the in shot counterparts. The team had a really strong look development setup for the CG Kaylons so there was only a small bit of tweaking for the needs of the shot. Besides lighting to get an integrated match I also added in mask and other additional render passes for the composite team. I am not completely new to Houdini but the team was instrumental in helping me learn the essentials very quickly to turn around quality work.

One of the best moments on the project was when the wedding team got a special thank you from creator Seth McFarland who said he didn’t think it was possible to get such a close match for the CG Kaylons in the close up shots. He was incredibly happy with our work and said if there was a new season for The Orville he would be reaching out to Powerhouse VFX as a primary studio. I really loved working on this project. Everyone on the team was incredibly helpful and excited to make cool space explosions!

The video above showcases all the shots I worked on while at Powerhouse VFX on the Manifest Season 4 team. The company was excellent sharing not only shot files but amazing breakdown videos for some of our key shots.

I joined the Powerhouse VFX team in March of 2022 as a remote lighting artist. The studio utilizes Houdini as their main 3D software, including rendering in Houdini’s native renderer Mantra. Throughout my time at Powerhouse VFX Manifest team I focused mainly on The glass shatter sequence. I played a large role in this shot sequence as I did modeling, texturing, shading, lighting, and rendering for the glass shatter shots. It was a small team on this particular set of shots, dividing out the lava look development, glass shatter simulation, lava simulation, fire simulation, lighting, and compositing. But because of the small team size everyone was working together and overlapping to keep the pipeline moving forward. I even animated the gun falling as all animators were booked on other shows. Very happy with how the sequences turned out and how much I was able to contribute to multiple stages of the pipeline as a generalist.

The video above showcases all the shots I worked on while at Powerhouse VFX on the Evil Season 3 team. The company was excellent sharing not only shot files but amazing breakdown videos for some of our key shots.

I joined the Powerhouse VFX team in March of 2022 as a remote lighting artist. The studio utilizes Houdini as their main 3D software, including rendering in Houdini’s native renderer Mantra. Throughout my time at Powerhouse VFX Evil team I worked on a large variety of shots. One day I would be lighting and rendering a mosquito monster and the next I would be lighting the full 3D cartoon in universe game world of Bumblebee Valley. I loved the variety and the fun way the show used as much on screen monster suits as possible. We were just doing the little extra touches for VFX and that always sets things up for a good outcome!