Bert Poole Email & Phone Number

Toronto, Canada Area

Month-long paid deep dive into virtual production techniques within the Unreal Engine.

Toronto, Canada Area

South Pasadena, Ca

Nightflyers - CG Supervisor - Authored content in/for the Unreal Engine for use on-set in-camera on 70' LED screens for use in the Netflix series. Supervised on-set in Limerick, Ireland for the first 2 episodes, coordinating with playback and tracking facilities, developing standards/pipeline from asset creation to screen. Responsible for all aspects.The Orville - CG Supervisor - supervised the production of 80+ shots for the pilot and episode 8. Developed/implemented Nuke and lighting templates/workflows for production. Hands-on in modeling, surfacing, layout, animation, lighting, and compositing tasks. Main point of contact for client.Happytime Murders - CG supervisor - supervised initial ramp up into production. Developed a lighting template manager and versioning system for cloth/hair caches in python. Supervised motion capture evaluations and planning for animation workflow.The Poverty Encounter - CG Supervisor - created a 4 minute flight simulation in the Unreal Engine from 24 different perspectives featuring a flight from an urban airport at 4PM to an impoverished village at dusk for an exhibit by an educational charity. Responsible for all aspects.Cloak and Dagger - Visual development and vfx production of plasma effect. Modeled, textured, animated, lit and composited wasp on main character.Jessica Jones - Supervised fx work.NCIS - CG Supervisor - generated FX, lit and composited.The Exorcist - CG Supervisor - supervised several episodes. Hands-on in animation, FX, lighting, and compositing.Other tasks involve coding and supervising proprietary solutions for the Unreal Engine in C++ for use in feature production. Key contributor to technical direction for the studio. Provide aesthetic supervision as needed to various projects, including the generation of paint-overs for guidance.

Glendale, California

Filmography as CG Supervisor, unless otherwise mentioned. In addition to leading a team, I lit and composited a heavy load of shots on every film, including both sequence setup and shot production. For additional lighting credits, I was often brought on to light and deliver a sequence or subset myself.Shark Tale - 2002-2004 - Look Dev / CG SupervisorOver the Hedge - 2004-2005 - CG SupervisorFlushed Away - 2005-2006 - CG SupervisorBee Movie - 2006,2007 - Look Dev / Additional Lead Lighter How To Train Your Dragon - 2007-2010 - CG SupervisorMegamind - 2010 - Additional Lead LighterThe Croods - 2010-2013 - CG SupervisorShrek the Musical - 2013 - CG Supervisor - Post-ProductionHow To Train Your Dragon 2 - 2013-2014 - CG SupervisorB.O.O.: Bureau of Otherworldly Operations - 2014-2015 - CG SupervisorKung Fu Panda 3 - 2015 - LighterThe Croods 2 - 2015-2016 - CG SupervisorKung Fu Panda Dreamplace Ride - 2016 - CG SupervisorThe Boss Baby - 2016-2017 - CG SupervisorHeavy interaction with Roger Deakins on HTTYD 1, 2 and The Croods.Siggraph 2016 - University and Industry Partnerships - Participated in Birds of a Feather panel discussing the mutual benefits for industry and universities in outreach initiatives and collaborations.2013 Scientific & Technical Awards - Presented/interviewed as part of the nomination process in the successful bid for Academy Award for Dreamworks lighting package.2016 Scientific & Technical Awards - Listed as Contributing Nominee and presented/interviewed in unsuccessful bid for Academy Award for Dreamworks 3D painting package.Clemson Summer Course Supervisor- Primary DWA production partner with Clemson University, creating and supervising 10-week Digital Production summer graduate course for 2013 and 2015.University Outreach - 2005 - 2017 - lectured/mentored at Ohio State University, Brigham Young University, Texas A+M University, Ringling University, and Savannah College of Art & Design

Glendale, California

Maya/Renderman/Mental Ray pipelineHelped develop CG workflow in GlendaleLook Development on Oscar, Angie and Lola for Shark TalePorted some basic PDI shaders to RSL for use on Shark TaleScripting of basic pipeline needs in lighting/surfacingTrained up new crew on PDI toolsHelped scope needs and planning of workflow

Palo Alto, California

Antz - 1996-1998 - LookDev/LightingShrek - 1998-2001 - LookDev/LightingTusker - 2001-2002 - LookDev/LightingCommercial and Film effects (Intel Aliens campaignBrother Termite test, Matrix 2-3 test, Gladiator test, others)Fat Cat on a Diet (Short Film) - 2000 - Digital ArtistSiggraph 2001 - VES From Ivory Tower to Silver Screen - Co-presented with Jonathan Gibbs in course with five other studios on R+D partnering with production, specifically development of PDI’s skin technology for Shrek/Fiona.