JONATHAN DAVIS

http://vimeo.com/588691373

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00:05-00:13 – Raya and the Last Dragon desert reveal sequence

 

Role: Developed key lighting and compositing for initial setup to pass on to shot lighters.

I was tasked with establishing key lighting and compositing for this sequence to hand off to shot lighters. This setup includes a key, sky, as well as quad lights for shaping. I chose the fx elements from a library and placed and animated them to create the look of a windswept desert. Falling dust from the plateau and dust around hero characters was provided by Effects. The sky and furthest distance elements provided by Set Extension. Sun, lightray and chromatic abberation effects done in Nuke. Lighting setup in Maya. Rendered with Hyperion.

00:13– 00:21 Raya and the Last Dragon lantern village chase sequence

Role: Collaborated with the Director of Photography to define lighting direction and keys for shot lighters.

I was tasked with developing the foundational lighting for this sequence with the Director of Photography (rough lighting to sell the look of the sequence before key lighting begins), establishing sequence light direction for shot lighters, as well as creating lighting keys. This is achieved with a dim skylight, directional light, shaping lights, and many quad lights within buildings with a volume and placed effects elements. Starry sky provided by Set Extension. Lighting setup in Maya. Key lighting setup in Maya. Rendered with Hyperion. Comp in Nuke.

00:21 – 00:26 Raya and the Last Dragon castle vista.

Role: Created hero shot integrating distant set extension and FX for Fang Castle at dusk.

A character key and a one off shot of Arendelle castle. The castle shot uses some lighting direction from another shot in this sequence where the castle is in the far distance to create this hero shot. The far background is set extension that needed to be seamlessly integrated with the rest of the shot. It was important for the story that the water be seen draining out of what was a lake so additional specular passes were created from the water effects that could be multiplied in comp and adjusted to achieve the director's desired look. In addition, I placed mist effects around the lake to give the desired look. Key lighting setup in Maya. Rendered with Hyperion. Comp in Nuke.

00:27 – 00:35 Frozen II title shot

Role: Created lighting, volumetric mist effects, and window projection mapping for aurora effect.

A one-off shot of Arendelle Castle with a tight deadline. I used cues from the prior sequence for the interior lighting, and created lighting and volumetric mist effects for the exterior castle. The aurora was provided from Effects, but I needed to create a rendered pass on an individual camera, and that frame range used as a projection map for the window. In addition, I created a glass material for the window that would have have a slight bit of displacement in the material so the reflection would refract slightly as the camera moved past. This shot had several unique titles for each language, so I worked with a supervisor to create a small team of lighters to use the key lighting for the main title, and apply and render out passes for each language that I would comp together to create each title shot. Key lighting setup in Maya. Rendered with Hyperion. Comp in Nuke


00:35-00:43 Encanto house party sequence
 

Role: Established key lighting for warm evening party atmosphere.

I created key lighting for this party sequence. It uses existing model lights where the lanterns and candles are placed for the set; additional soft spot lights and fills are placed in addition to a soft and cool sky dome to create the look of a warmly lit gathering in the evening. The magic doors use particles provided by Effects and my supervisor and I worked on creating sub surface materials for the door to get the final integrated look. Key lighting setup in Maya. Rendered with Hyperion. Comp in Nuke

00:43 – 00:48 Wish(various shots)

Role: Applied watercolor and linework overlay for specific effects and executed hard graphic look for certain shots.

 

A shot of King Magnifico throwing a door open. To achieve the look of wish, the leads of the show created a template that shot lighters import and make adjustments to. Watercolor effects in addition to linework that looks hand drawn is overlayed to the render in Nuke. To create the hard graphic look of the door being thrown open, I rendered an additional sunlit pass, and a volume pass and animated the overlayed effect in Nuke.

 

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00:48-00-59, 1:00-01:09 SpiderMan: Into the Spiderverse

Role: Responsible for lighting and compositing shots with comic book effects.

 

Several shots of this Academy award winning film that I lit and composited. Shots were lit, then linework was projected onto characters and objects in comp, as well as linework provided by animation for the character's expressions. A special chromatic abberation effect was used for the 'depth of field' and certain elements like the bubbles and outlines as well as the Invisible Miles (1:36) were team efforts in comp to create comic book looking effects. Lighting setup in Maya. Rendered with Arnold. Comp in Nuke

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00:59-1:00 Raya Tuk Tuk in desert

 

A comedic shot between Tuk Tuk and Raya. Based on the existing key direction from the right side, the goal was to keep raya visible yet still leave the impression she was in Tuk Tuk's shadow.

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1:10-1:16 Unreal Engine 5 (various shots)

Some examples I created to demonstrate lighting in Unreal Engine 5. I used modular assets and built sets, modeling the environment they would be placed in. Exterior scenes use hdri skies, volumetric fog, and directional lights for keys. The gas station uses emissive and practical lighting and reflection probes. Lumen was used for the outdoor ocean shore scene. Volumetric scattering was adjusted for the Japanese lantern scene and shadow blockers were applied for shaping the light rays. point and quad lights were placed around scenes for shaping and balance.

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1:17-1:22 Frozen 2 Olaf's Song and Wind Spirit

 

Role: supervision of the sequence with another shot lighter

A sequence I lit with another shot lighter. My supervisor was out on leave so we used a key from one shot in the sequence and completed the sequence together.

In addition is some lighting effects integration with a tornado provided by Effects, lit in Maya/Hyperion and composited in Nuke.

 

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1:23-1:25 Encanto (wide shot)

An example of integrating various elements – foreground character, midground crowds and environment, and provided set extension for the far backround. Lighting setup in Maya. Rendered with Hyperion. Comp in Nuke.

 

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1:25-1:27 Multi key composite.

Role: Integrated two distinct looks into a single shot using different layers and animated light map.

This shot had the challenge of having to use two separate looks from two separate sequences and integrated into one. I used both rigs and placed them within different layers to be rendered, then integrated them in Nuke. The projected light map I animated in Nuke and attached to a gobo to give the effect of light being projected from the bubbles onto the environment.
 

 

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1:22-1:24 Encanto dinner table

An overhead multi character shot. Lighting setup in Maya. Rendered with Hyperion. Comp in Nuke.

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1:27-1:30 Encanto (overhead shot)

 

A crowd shot with stage lighting to highlight an important moment for Mirable and Antonio. The director requested the roof to be dark and cool with a warm and inviting interior.

 

 

 

 

 

 

 

1:30-1:34 Frozen 2, Anna and Elsa

Example of night lighting on two characters. Lighting setup in Maya. Rendered with Hyperion. Comp in Nuke.

 

 

 

 

 

 

 

1:34-1:44 Epic, various shots

Shots from Epic with some dramatic lighting. These were based of key lighting I used from the sequence Lead. Lit and rendered in Maya and Studio++. Composited in Nuke.

 

 

 

 

1:35 – 1:44 Strangeworld (various)

Role: Adapted key lighting for various scenarios, using established rigs and FX integration.

Close up shot of searcher. This shot integrates glowing effects and reflections.
A long shot with multiple characters using an exiting interior rig, sky lighting from the outside was requested.

Rendered with Hyperion. Comp in Nuke.

 

All work is the property of The Walt Disney Company and Sony Pictures

All work not owned by myself is the property of The Walt Disney Company, Sony Pictures.