Gallery | Alicia Anderson

Jurassic World: Chaos Theory Season 1

As a lighting & compositing artist at DreamWorks TV, my primary responsibility was creating master light rigs, lighting presets, and nuke gizmos for our partner studios to use as a starting point for shot work. My goal was to create a setup that could be used for as many shots as possible while hitting the look designated by the Lighting/Comp supervisor, the Art Director, and other show leadership. On Chaos Theory, I was also tasked with shot plussing, FX compositing, paintover integration, creating skydome textures, and initial reviews of overseas asset lighting.

Jurassic World: Chaos Theory Season 2

As a lighting & compositing artist at DreamWorks TV, my primary responsibility was creating master light rigs, lighting presets, and nuke gizmos for our partner studios to use as a starting point for shot work. My goal was to create a setup that could be used for as many shots as possible while hitting the look designated by the Lighting/Comp supervisor, the Art Director, and other show leadership. I was also tasked with shot plussing, FX compositing, paintover integration, creating skydome textures, and initial reviews of overseas asset lighting.

Kung Fu Panda: The Dragon Knight Seasons 1 & 2

As a lighting & compositing artist at DreamWorks TV, my primary responsibility was creating master light rigs, lighting presets, and nuke gizmos for our partner studios to use as a starting point for shot work. My goal was to create a setup that could be used for as many shots as possible while hitting the look designated by the Lighting/Comp supervisor, the Art Director, and other show leadership. On Dragon Knight, I was also tasked with shot plussing, paintover & matte painting integration, and initial reviews of overseas asset lighting.

Kung Fu Panda: The Dragon Knight Seasons 1 & 2

As a lighting & compositing artist at DreamWorks TV, my primary responsibility was creating master light rigs, lighting presets, and nuke gizmos for our partner studios to use as a starting point for shot work. My goal was to create a setup that could be used for as many shots as possible while hitting the look designated by the Lighting/Comp supervisor, the Art Director, and other show leadership. On Dragon Knight, I was also tasked with shot plussing, paintover & matte painting integration, and initial reviews of overseas asset lighting.