Emeric Meissirel // Lighting – Look Development // Demoreel 2020

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Lighting and Look Development // Shot

Breakdown – Detailed shot by shot

00:06 – Honda Civic Type R – The Other Side – Maya, Arnold and Nuke

My work was mostly done on the black SUV chasing the red Type-R. I modified the design of the car in order to match client requests. I also worked on the look development of the SUV and had to light it and integrate it across the night shots. I also lit a shot of the red Type-R.

00:11 – Sky Q – Around the House – Maya, Arnold, Nuke

On this ad for Sky Q, my job was to start defining a look for the shots. So I took care of the look development, lighting and pre-compositing of the assets provided by the FX team.The second shot was done in CG in order to have a better control over the look.

00:15 – NG – Just Wait – Maya, Houdini, Arnold and Nuke

Look development of every stages of the Drones, Robots Arms and Helicopters for the ad.I was also in charge of lighting the Drones, in Houdini, for all the sunset shots.

00:18 – BMW – Be Unique – Maya, VRay and Nuke

In this short ad, we needed to render statues with the likes of the actor. Some shots had visual references but most of them didn’t. The point was to have a very soft lighting to blend with the lighting of the DOP.

00:19 – Versailles – Canal Plus – Maya, VRay and Nuke

This was a shot for the TV Show “Versailles”. We only had a lot of low quality assets that we needed to enhance in shot lighting. This shot was a concept shot to try to find out the mood of the sequence.

00:21 – L’Empereur de Paris – Feature Film – Maya, VRay, Substance Painter, Nuke

On this feature, my work was to lead the lighting team and set up a look development workflow and convention in order to have all the artists work in a calibrated environment. The prison hulk was a great challenge because I had to put a lot of small details to properly convey the massive scale of it. The client was really concerned about the historical credibility so we did a lot of research in paintings and engravings in order to be believable and blend with the mood of the film.

00:32 – Santa & Cie – Feature Film – Maya, VRay and Nuke

I was responsible for the lighting of this sequence which is a gingerbread and candy town in Santa’s Toy Factory. The main goal was to bring a sense of wonderland while seamlessly integrating the actors shot on blue screen.

00:42 – Total Quartz – Maya, Arnold, Nuke

On this spot I lit the robots according to the actors that were going to be erased in the shots. I was responsible for the action sequence, the goal was to properly integrate the robots in the environment but also to make sure to enhance the look of the metals and fiber muscles.

00:55 – Osmosis – Netflix – Maya, VRay, Substance Painter, XGen, Nuke – On Set

For this project I was in charge of some looks research, look development and lighting. I was on set in order to capture the lights and the DOP setup. The actors were hanging in the air while a rig of lights was turning around them on rails. The goal was to replace their harness by a digital double going from their core to the middle of their thighs. Four digital doubles were needed throughout the sequence.

01:00 – Milka – Maya, Arnold, Substance Painter, Nuke

In this ad, we had four spots and I was in charge of the rendering of the “Mama Bear” one. The challenge was to do all the texturing, look development and lighting of the assets and the environment in a short amount of time. The director gave us a very nice color script that was the starting point for the mood of the lighting. The idea was to have a playful little ad that had a simple and readable storyline.

Music By Todd Terje – Alfonso Muskedunder