Riccardo Zanettni
Summary

I am a 2D and 3d Artist located in Los Angeles originally from Milan (Italy) and I have been working for over sixteen years in the postproduction industry. My interest in this field, my desire to grow professionally and a U.S. Citizenship led me to move to California 12 years ago.

I have been employed in the role of lighting/effects/compositor and lookdev TD by several known companies. I had the opportunity to achieve great experience and fine tune my skills working on very challenging and high profile projects.

I developed team leading skills on several productions and I feel very comfortable in a lead role.I have a positive and friendly attitude, I am a fast learner and always consider my work quality very important.Here are some aspects of my skillset that have been most helpful in recent projects :

  • Solid experience in autonomously solving technical problems and developing procedures combined with very developed artistic skills.
  • On top of my specialization I consider myself a generalist having good knowledge of  modelling, rigging, animation and texturing.
  • I have an extended knowledge of production pipelines, lighting workflows, film LUTS and how it all flows in compositing.
  • Well rounded compositor with 10 years experience working with in different color-spaces, resolutions and in stereo format.
  • Proved experience in managing layered rendering (aov) in order to succesfully relight a shot in compositing.
  • In few occasions I doubled as co-producer and this gave me a good understanding of creative needs related to timing and costs.
  • I provide a creative contribution to address both technical and artistic problems to minimize time and maximize results.


Software

5 Windows XP/Vista/7  |  5 Vray  |  5 Nuke  |  5 Photoshop

4 Linux  |  4 Mac OS  |  4 Maya  |  4 3d studio Max

4 Mental Ray  |  4 Prman  |  3 Xsi

3 Arnold  |  3 After Effects



Work Experience

 

Rodeo FX  //  May 15 – current

Sr. Compositor – NDA Feature project

 

MPC/LA  //  Mar 15 – May 15

Lead Lighter – Raid commercial

 

Logan  //  Feb 15 – Mar 15

Sr. Lighter – Venezia

 

Encore  //  Dec 14 – Feb 15

Sr. Nuke Compositor – Various TV Projects

 

Digital Sandbox  //  Nov 14

Sr. Nuke Compositor – “Muhammad”  (Feature)

 

Nightshift LA     //    Oct. 14

Sr. Nuke Compositor  - Commercial under NDA

 

Scanline Vancouver     //    Oct. 13 – Oct. 14

CG Supervisor – Hunger Games

Lighting Supervisor – Pompeii

Lighting Supervisor – Godzilla

Look Dev/Lighting Pipeline Dev – Game of Thrones

 

PSYP Venice     //    Aug 13

Commercial under NDA  - Senior Compositor

 

Buck LA     //    Aug 13

Commercial under NDA  - Senior Compositor

 

Framestore    //    Aug 13 – Sep. 13

“Target ” & “LG”  Commercial  - Senior Compositor

 

Nightshift   //    May 13 – Jun. 13

“Cracker Barrell”  Commercial  - Senior Compositor

  • Extensive use of nuke 3d tracking capabilities to stabilize and track elements to main plate
  • Extracted parts of the bg and re-added  them to it heavily  retimed
  • Added nuke 3d elements mapped with shot elements

 

Logan   //    Mar. 13 – May 13

“Nike”  Commercial  -  Sr. Lighter and Compositor

  • Created highly detailed nike shoe texture, shaders, lighting and rendering
  • Composited full cg shots with macro view of NFL uniform details, added in camera effects

 

” Clinique DDM ”  Commercial - Sr. Lighter and Compositor

  • Lighting of photorealistic  water  with several extra passes to better integrate the live bottle
  • Composited shots with live bottle inside and outside of a CG ballon filled with CG water.

 

Eight VFX   //    Mar. 13

“Smirnoff” Commercial  - Senior Lighter

  • Created several elements: colorful curtains, balloons, party lights and some set extensions

 

Pixomondo   //    Dec. 12 – Mar. 13

Oblivion  - Senior Compositor

  •  Worked on all type of shots: full cg, static matte paint to turn into a moving camera shot (the Toronto needle)  and blue screen shots with CG extensions
  • Heavy tuning of CG elements using Vray render passes

 

Weta Digital    //    Sept. 12 – Dec. 12

The Hobbit – Senior Lighter

  • Rendering for 2 furry creatures sequences (warg attack  and eagles rescue) using Weta proprietary software and pipeline
  • Good exposure to Weta deep compositing pipeline

 

Logan    //    Sept. 12

“Crickets” Commercial – Senior 3D Artist and Compositor

  •  Worked on integrating a CG floor with a real one to perfect match (3 days work) for few shots.

 

Method    //    Sept. 12

“Activision” Commercial –  Senior 3D Artist and Compositor

  •  Compositing on the cinematics for Call of Duty videogame

Ntropic    //    Jul. 12

“ABC & Lincoln” Commercial – Senior 3D Artist and Compositor

 

Digital Domain Commercials    //    May 12 – Jul. 12

Fall of Cybertron, Medal of Honor Cinematics – Senior Compositor

  • Comped Cg elements with live elements placed in 3d space using nuke 3d capabilities.
  • Look of the commercial was mostly defined in comp for the first commercial specially.

Logan    //    Mar. 12 – Apr. 12

Estee Lauder & Mario Tennis commercial – Senior 3D Artist

  • Worked with maya and vray taking care of all 3d  work from texturing/shading  to final renders on Mario.
  • Estee Lauder was a Maya/mray job for which I took care of all the 3d  needs.

 

Eight VFX    //    Feb. 12

R. Nadal Mercedes commercial – Senior 3D Artist and Compositor

  • Freelance Sr. 3D artist and Compositor

 

Method Studios    //    Dec. 11 -Jan. 12

“Wrath of The Titans” – Senior Compositor

  • We used nuke and comped mostly 21/2D shots with extensive use of nuke 3D capabilities.

 

Pixomondo    //    Feb. 20 -Dec. 11

“Red Tails” – Lead Lighting TD/Compositor

  • I did look dev on master shots (shaders, lighting and comp),setting up lighting pipeline and how it connects to compositing, setup of lighting for most sequences, shots lighting and compositing including render time optimization. We used Max/Vray and Nuke. Had direct feedback from ILM.

 

“Sucker Punch” (WWI seq)- Lead Lighting TD/Compositor

  • Key-lighting, look dev and comp on Max/Vray.  I worked mostly on shots with the Mech and crowds.

 

Pixomondo    //    Feb. 10 -Dec. 11

“Red Tails” – Lead Lighting TD/Compositor

  • I did look dev on master shots (shaders, lighting and comp),setting up lighting pipeline and how it connects to compositing, setup of lighting for most sequences, shots lighting and compositing including render time optimization. We used Max/Vray and Nuke. Had direct feedback from ILM.

 

CafeFX    //    Oct. 09 -Feb. 10

“Alice in Wonderland” – Sr Lighting TD/Compositor

  • Sr. Lighting TD in charge of defining the lighting look for a sequence. Used Maya/Prman and Xsi/Arnold.

 

Imagemovers Digital    //    Jun. 09 -Sep. 09

“A Christmas Carol” – Sr Lighting TD/Compositor

  • On this show I created light-rigs and templates to be used by other artists for a consistent look throughout a sequence. Learned IMD proprietary pipeline and software in 4 days. We used layered renders to relight shots in nuke.

 

Pixomondo    //    Nov. 08 – Jun. 09

“2012” – Lead Lighting TD

  • I did key-lighting and compositing on the movie “2012”.
  • My role was to develop  the look, the lighting pipeline and it’s coupling with compositing for the seq. assigned.

 

Luma Pictures    //    2007 – 2008

“Nutcracker: The Untold Story” – Lead  TD

  • I did key-lighting and compositing on the movie “2012”.
  • Lead TD in charge of  look developement, key-lighting and compositing. I developed the look and the pipeline to render a giant Christmas Tree in Maya/Mray.

 

Sony Imageworks    //    2005 – 2007

“Open Season” – Sr. TD lighter/compositor

“Spiderman 3” and “Beowulf” – Sr. TD lighter/compositor

  • I did sequence key-lighting, look dev and compositing on all three movies.

 

Digital Domain    //    2003 – 2005

Stealth” “I Robot” & “Peter Pan” – Sr. TD lighter

  • We used  using maya/mtor/prman/nuke on all productions. I occasionally comped as well.
  • On Peter Pan I did look devl, rendering pipeline setup, shader devl for the set Extension Team (Black Castle).
  • Also consulted for the look dev of the Crocodile. On I Robot and Stealth I mainly did seq. key-lighting.

 

Industrial Light and Magic    //    2001 – 2003

“Star Wars Episode 2: Attack of the Clones” – TD lighter/compositor

“The Hulk” – TD lighter/fx and compositor

  • We used using ILM proprietary software on both productions.
  • On “The Hulk” I developed the look and technique for several particle driven effects in maya.

 

Creative Visual Efx    //    Jun. 01 – Oct. 01

“Unleashed” – Lighting TD

  • TD lighter and talking animal pipeline setup with Maya and Jig

 

Rhythm and Hues    //    Mar. 01 – May 01

“Doctor Dolittle 2” feature & “Bush Beans” commercial  – Lighting TD

  • TD lighter and talking animal pipeline setup with Maya and Jig

 

Moon Crescent    //    Jan. 01 – Mar. 01

Staff  TD lighter/compositor on a whole CG movie.  (Company closed)

 

Imaginary Forces    //     Jul. 00 – Dec. 00

Freelanced on three different projects. The first involved the creation of several 2K 3D graphics prompts for the NY Knicks, the second broadcast design elements for Lifetime TV and the third a 3D “Harry Potter” logo for the trailer.

 

Freelance in Italy    //    1999 – 2000

I worked for commercials and industrial presentations. Projects included: an interactive kiosk with  real time 3D models for Flou (www.flou.it), a short taking place inside the La Scala theatre for an expo at the “Biennale di Architettura” in Venice and an animation for the national Suisse TV.

 

Locomotion (Milan)    //    1997 – 1999

Staff in one of the largest 3D animation studios in Italy. I began by taking care of the commercial section following all the steps of the production. Later I supervised small teams and more complex productions starting from pre-pro and shooting until the final composites. In the end I supervised  shooting on set. Worked on two features G. Tornatore’s “Legend of  1900” and ABC’s  “Jesus”.

 

Freelance (Milan)    //    1995 – 1996

I worked with Softimage for many production companies, which include: Hay Space, Chromatron, Chinatown, Studio Walter Buonfino, Trust Admakers, Hyphen, Ex/novo, Vivarium, Post625, Artefacto, Locomotion and PPV.  My tasks were mainly to work on commercials and industrial presentations, targeting broadcast and multimedia.





Education

Istituto Europeo di Design, Milan         Computer Graphic degree              1991-94

Politecnico di Milano University           Civil engineering                              1990-91



Awards

Premio Immagine    //    October 1999

“Legend of 1900″ directed by academy award winner Giuseppe Tornatore (Malena), was given the special effects award at the Premio Immagine festival. In this movie I was responsible for the shots were digital water was added.

Key Award    //    April 1998

The 20th Key Award Edition for best special effects was given to 5 commercials directed by academy award winner director Gabriele Salvatores for “Banca di Roma”. The “Key Award” is among Italian most important awards for commercials and broadcasts. In this project I was fully involved in the creation and integration of CG with the live shooting.

Premio Immagine    //    October 1997

The starter of the first italian digital network named “Tele+” won the Premio Immagine national award and was also selected as the finalist at Imagina 98 in the “credits” category. I worked as lead 3D artist being also involved in the creative process.

Premio Zucchi    //    November 1995

I won the national award Premio Zucchi with an animation called “Klick”, the starter of a TV program for children. Premio Zucchi is an biannual award given to the best Italian 3d animator “under 30″.