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Brock J. Stearn


Lighting  ·  Compositing  ·  Creative Workflow Infrastructure and Integration  ·  Generalist

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

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



Post Visualization Department Lead (Avatar: The Way of Water, Avatar 3)

LightStorm Entertainment (2019 – Present)

  • Built a skilled team of 20 full-time artists proficient in real-time engines, compositing, and camera solving, dedicated to Virtual Production.
  • Collaborated closely with the head of studio and head of pipeline development to establish a long-term Post Visualization pipeline and strategy for the company.
  • Decreased turnaround time, resulting in significant increase in output year-over-year.
  • Significantly raised quality standards for PostVis products delivered to Editorial and Jim Cameron.


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

Blur Studio (2018, 2019)

  • Lighting and compositing for CG shots, encompassing both photo-realistic and stylized content.


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

Duncan Studio (2018, 2019)

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


Immersive Design and Marketing Strategist

Hyperloop Transportation Technologies (2018 – 2019)

  • Provided guidance and leadership in exploring immersive technology, leveraging game engines, to visualize and communicate HyperloopTT’s goals and vision.
  • Managed cross-functional teams collaborating across multiple countries to ensure successful execution.


Director of Immersive Technology

Edmunds (2016 – 2017)

  • Oversaw and managed multiple project teams across diverse software platforms, including real-time game engines, mobile platforms, and video software, ensuring successful delivery within budget.
  • Spearheaded the development of a cutting-edge cloud-based GPU real-time car configurator, revolutionizing the car customization experience.
  • Pioneered the creation and implementation of “Can It Fit?”, an AR feature that garnered extensive press coverage and drove a remarkable 700% increase in user acquisition.
  • Created the Interactive 360° Pano product, generating over $2 million in sales revenue.


Sr. Lighting Artist (Star Trek: Beyond)

Bad Robot (2016)

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


Digital Futurist

WET Design (2015 – 2016)

  • Established and managed the Digital Innovation team comprising CGI and film artists, enabling rapid creation of mock-ups and proof of concepts in traditional 3D and real-time game engines.
  • Developed immersive products using Unreal Engine and Unity.
  • Produced VR visualizations, featuring 300 precise water shooter simulations aligned with physical products.
  • Oversaw and mentored digital artists.
  • Optimized studio pipeline and set quality standards for CG content.

Head of Computer Graphics (U.S.)

Absolute Post (2014)

  • Creative supervision of CG content, including project bidding and staffing.
  • Junior Creative Director for multiple campaigns.
  • Acted as the primary point of contact for clients, including on-site VFX supervision.
  • Collaborated on the development of a new pipeline and rendering system between U.K. and U.S. offices.
  • Participated in studio discussions to leverage tax incentives for episodic television projects.


Creative and Technical Consultant (The Cask of Amontillado)

MoonBot Studios (2013)

  • Implemented new bidding and production models for the studio’s Intellectual Properties.
  • Presented future technology and software upgrade plans.
  • Performed CG generalist work in lighting, compositing, look development, and modeling.
  • Served as a mentor for junior artists.


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)

DreamWorks Animation (2009 – 2013)

  • Implemented standardized compositing workflows across global studios and teams.
  • Developed efficient 2.5D solutions in Nuke to reduce costs of 3D rendering.
  • Oversaw the establishment of a comprehensive documentation system for the Lighting Department, adopted across all departments company wide.
  • Led regular meetings with R&D to enhance lighting workflow and drive future development.
  • Received multiple awards from DreamWorks Animation for outstanding achievements.


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

Sony Pictures Imageworks (2008 – 2009, 2013)

  • Lighting and compositing tasks for both mono and stereo shots, including the creation of shareable setups.


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

Image Movers Digital (2009)

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


Lighting and Compositing Artist (Bolt)

Walt Disney Feature Animation (2008)

  • Lighting and compositing tasks for shots, including the creation of shareable comp setups.


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

Rhythm and Hues Studios (Various: 2003 – 2008)

  • Led and managed multiple lighting teams, overseeing the creation of hero shots for artists to match.
  • Conducted research and development for the implementation of a new pipeline utilizing a combination of off-the-shelf and proprietary software.


Stereoscopic Compositor (Meet the Robinsons)

Digital Domain (2006 – 2007)

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


CG Generalist (Constantine, Ultraviolet)

CIS Hollywood (2004)

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




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