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:

Lightstorm Entertainment (2019 – Present)

Post Visualization Lead (Avatar 2, Avatar 3)

  • Assembled a team of more than 10 full-time artists combining skills in real-time engines, compositing and camera solving.
  • Worked directly with both the head of studio and the head of pipeline development to determine the Post Visualization pipeline and strategy for the company.

 

Blur Studio (2018, 2019)

Sr. Lighting and Compositing Artist (Call of Duty: Modern Warfare, Elder Scrolls Short, Love, Death & Robots – Netflix Series)

 

Duncan Studio (2018, 2019)

Sr. Lighter and Compositing Artist (Lego Short Film, Mary Poppins Returns)

  • Lighting and final compositing of CG content
  • Integration of 2D drawn animated elements into CG renders and live-action plates

 

Hyperloop Transportation Technologies (2018 – 2019)

Immersive Design and Marketing Strategist

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

 

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