Showreels

Here is a selection of Showreels and various works

Note:  I can also be found on Zerply where you will find shot breakdows and more.

A showreel containing some of my best and/or favorite VFX work over the years.

This is representative of the work that I supervised for Season 7 of Star Wars: The Clone Wars on Disney+.

Star Wars: The Clone Wars S7 Credits: Gianni Aliotti - Lighting/Fx Supervisor

These are two projects that I did for Autodesk back in 2018. For the first one, called DRED (the salt flats racing spot), I was responsible for the Lighting, Look-Dev, Compositing, and even some layout and a bit of ship animation. For the 2nd spot, it was more of a team effort (FLEA). I supervised a team of about 4 artists and was also responsible for the Lighting & Compositing.  

DRED Credits: Gianni Aliotti - CG Supervisor, Mike Janov - VFX Supervisor

FLEA Credits: Gianni Aliotti - CG Supervisor, Mike Janov - VFX Supervisor, Dante Rinaldi - Modeling/Texturing, Pete Upson - Matchmove/Layout, Jason Funk - Animation, & Collie Wertz - Concept Art.

This is my latest Showreel from 2014.  Here is a Shot Breakdown.

This is my compositing reel from my work on Star Trek: Into Darkness while working at Industrial Light and Magic.

This was my last project with DDMG,  titled "Ball Unleashed" or the New York Mets.  I personally composited the first and the fifth shots in the spot and lead the compositing team for the entire spot doing look-dev, supervision, and support.  I was honored to be one of the 4 VES nominees for this particular spot.

This was my first project with DDMG,  titled "Heads Up Display" or the New York Mets.  I personally composited the first and last shots in the spot and lead the compositing team for the entire spot doing look-dev, supervision, and support.

This reel consists of my work from two big AAA games of 2014/2015. The first 90% is from Battlefield: Hardline. The last section is from Call of Duty: Advanced Warfare. For both projects I was responsible for the lighting design and general concept/look of the lighting. In the case of Battlefield, extensive scripting was done throughout the process to achieve many animated lighting setups including the in-game cinematics which are all scripted to run live in-game. That means that all of the camera cuts had to be scripted to account for the various lighting angles/shots/etc. I was principally responsible for the look and budget of the lighting throughout my various levels so I hope you like it. Remember, this runs at anywhere from 30-60 fps in-game in real-time.

This compositing, Lighting, & VFX reel is an oldie, but represents my best work through 2011.