On The Box, I did the look development of the gruesome scar sported by Frank Langella, the main villain. I worked with Thomas Kernan, who provided the mesh which he refined from a scan of a practical prosthetic. I developed the shaders, painted textures and worked with our comp leads Josiah and Beak to develop render passes that would allow seamless integration with the plates. This involved creating custom mattes, shaders, and master light rigs that were deployed into shots via scripts. With a master light rig tuned to match one plate in a sequence, passes for the whole sequence could be sent to render and end up in comp for final touches with a few mouse clicks only. Developing this pipeline helped us produce lots of hero shots with difficult integration in record time. Compositors would only open a comp built from the queue, which was in most cases 90% done. We were all very proud of our achievement. Zbrush, bodypaint and photoshop were used for the detailing. The Box received a VES nomination for “Outstanding Supporting Visual Effects in a Feature Motion Picture”. I was particularly happy with this because I played an important part in executing this project. Gradient Effects.