how to render heat distortion with arnold for maya

I couldn’t have wished for a better project to make the move from animation supervisor to visual effects supervisor. That’s was your first project as VFX Supervisor. Visual effects can overshadow the drama of a scene, so it was very important to him that the monster would complement the scenes with the actors and not take the attention away from the story. J.A Bayona wanted the tree monster in our scenes to look photoreal and his acting to be as subtle as Conor’s. What was their approaches and expectations about the visual effects?

Twice a week we would get direct feedback from him, very important on a show with such emphasis on acting. Unlike most shows, he was on every review along with Felix. Bayona has a great eye and sensibility for the characters. The collaboration was very interesting and rewarding. How was the collaboration with director J.A. I traveled to MPC London to meet with the client and get involved in the early stages of production. I was offered the opportunity to lead the team at MPC Montreal. How did you and MPC got involved on this show? He talks to us today about his work as a VFX Supervisor. He then worked on NIGHT AT THE MUSEUM: SECRET OF THE TOMB, THE LEGEND OF TARZAN and FANTASTIC BEASTS AND WHERE TO FIND THEM.

In 2014, Ferran Domenech told us about the animation work of MPC on GODZILLA.

How to render heat distortion with arnold for maya