VFX Showreel circa 2022
Highlights from The Clone Wars, Season 7.
Two projects for Autodesk back in 2018. For the first one, called DRED (the salt flats racing spot), 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). 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.
Showreel from 2014.
Compositing reel from 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.
Compositing, Lighting, & VFX circa 2011.