Brock J. Stearn

RELEVANT EXPERIENCE:

Creative Director  ·  CG Supervisor  ·  Lighting  ·  Compositing  ·  Look Development ·  CG Generalist

Film  ·  Commercials  ·  Television  ·  Virtual Reality  ·  Augmented Reality  ·  360° Filming

Maya  ·  3DS Max  ·  Katana  ·  Nuke  ·  Arnold  ·  Renderman  ·  VRay  ·  Redshift  ·  Unreal Engine

 

PROFESSIONAL EXPERIENCE:

Hyperloop Transportation Technologies (2018 – Present)

Immersive Design and Marketing Strategist

  • Advising and leading explorations into immersive technology, using game engines, to visualize HyperloopTT’s goals and vision
  • Developing strategies for product deployment to multiple global and culturally diverse clients
  • Project management for teams collaboratively working together in multiple countries

 

Blur Studio (2018)

Sr. Lighting and Compositing Artist (Love, Death & Robots – Netflix Series)

  • Lit and composited fully CG shots for a photo-real episode and lit shots for a stylized episode

 

Duncan Studio (2018)

Sr. Digital Compositor (Mary Poppins Returns)

  • Integrated 2D drawn animated elements and CG renders

 

Edmunds (2016 – 2017)

Director of Immersive Technology

  • Supervised, budgeted, and staffed multiple project teams working across various pieces of software, including real-time game engines, mobile platforms and video software
  • Led development of a fully interactive cloud-based GPU real-time car configurator
  • Responsible for ideation of new products to solve customer needs
  • Led the development of “Can It Fit?”, an AR feature used to judge if a vehicle can safely fit in a space. Can It Fit?’s release resulted in significant press and an increase of over 700% in new users
  • Created and developed the Interactive 360° Pano product which immediately created new sales revenue over $2 million in the first few months of launch
  • Educated internal cross function teams on immersive mediums in-market and user experience value

 

Bad Robot (2016)

Sr. Lighting Artist (Star Trek: Beyond)

  • Lit a CG replacement USS Enterprise hallway environment and props for a 6K delivery

 

WET Design (2015 – 2016)

Digital Futurist

  • Created and supervised the Digital Innovation team consisting of CGI and film artists to quickly create mock-ups and proof of concepts in both traditional 3D and real-time game engines
  • Specialized in developing immersive products, using Unreal Engine and Unity, for internal and external needs of WET
  • Created VR visualizations in Unreal Engine of future projects including 300 accurate water shooter simulations matching physical products
  • Supervised and advised digital artists on their daily work and personal growth
  • Researched and proposed digital technology strategies for today and future growth
  • Studio pipeline development, optimization, and standardizations
  • Set quality standards for rendered CG content

 

Absolute Post (2014)

Head of Computer Graphics (U.S.)

  • Creative Supervision of all CG related content for U.S. office, including project bidding and staffing
  • Fulfilled role of Junior Creative Director for multiple campaigns
  • Direct relations and communication with clients, including on-site VFX Supervision
  • Co-Developed a new pipeline and rendering system connecting both the U.K. and U.S. offices.
  • Engaged in studio discussions to take advantage of lucrative tax incentives for episodic television

 

MoonBot Studios (2013)
Creative and Technical Consultant (The Cask of Amontillado)

  • Developed new bidding and production models focused on studio’s Intellectual Properties
  • Proposed future technology and software upgrade plans
  • CG generalist work including lighting, compositing, look development and modeling
  • Mentor for junior artists

 

DreamWorks Animation (2009 – 2013)

Sr Lighting and Compositing Artist, Compositing Lead (Turbo, Puss in Boots, Megamind, How to Train Your Dragon: Legend of the Boneknapper, Shrek Forever After, How to Train Your Dragon)

  • Standardized compositing workflows between teams and global studios
  • Created 2.5D solutions in Nuke to solve estimated high cost 3D renders.
  • Supervised the creation of a new documentation system including layout, templates and search protocols for the Lighting Department which were later adopted across all departments studio wide
  • Led monthly meetings with R&D to improve the lighting workflow and future development
  • Received multiple awards from DreamWorks Animation

 

Sony Pictures Imageworks (2008 – 2009, 2013)

Sr. Lighting and Compositing Technical Director (Cloudy with a Chance of Meatballs 1 & 2)

  • Lit and composited mono and stereo shots, including building shareable sequence rigs

 

Image Movers Digital (2009)

Sr. Lighting and Compositing Technical Director (Disney’s A Christmas Carol)

  • Lit elements and built a full Nuke 2.5D replacement city block environment for the skating sequence

 

Walt Disney Feature Animation (2008)

Lighting and Compositing Artist (Bolt)

  • Lit and composited shots, including building shareable comp rigs

 

Rhythm and Hues Studios (Various: 2003 – 2008)

Lead Lighting Technical Director (Mummy 3, The Golden Compass, Happy Feet, Superman Returns, COX Commercials, Garfield, Scooby Doo 2)

  • Led multiple lighting teams, including creating hero shots for artists to match
  • R&D and implementation of a new pipeline using off-the-shelf and proprietary software

 

Digital Domain (2006 – 2007)

Stereoscopic Compositor (Meet the Robinsons)

  • Manipulated, painted, and composited mono render elements to create stereoscopic shots

 

CIS Hollywood (2004)

CG Generalist (Constantine, Ultraviolet)

  • Modeled and textured CG replacement environments, including a future version of Shanghai

 

EDUCATION:

Certified Scrum Master (CSM) – Scrum Alliance

MFA in 3D Visual Communication Design – The Ohio State University, Columbus, Ohio

BFA in Computer Animation – Ringling College of Art and Design, Sarasota, Florida