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About Me

Who is nèstor prado

Nestor Prado is a VFX Artist whose background in Computer Engineering gives him a true technical edge. Lighting and shading are his main passions. From recreating the lighting to integrate an object into a plate, or lighting an environment or a character to convey a specific mood. He strives to create photo-real imagery using his desire of self-improvement and the knowledge gained through professional experience in the VFX industry as well as his ongoing learning. Keeping up with the state-of-the-art approaches for lighting and shading he is able to learn them at a quick pace and integrate them as part of his everyday work. He thrives in a creative team-driven environment pushing his work to the highest standard.

professional experience

April 2018 - April 2019

London - UK

2020

The Midnight Sky

Senior Lookdev artist at Framestore London:

  • Hero Digital Doubles for characters Adewole and Maya
  • Small number of shot lighting setups.

2020

The King's Man

  • Lighting Lead for all Framestore London sequences
  • Look development of all CG goats

2019

Pokémon: Detective Pikachu

Framestore London Lighting Lead:

  • Underground Arena Battle Sequence
  • Hi Hat Cafe Sequence
  • Magikarp Look Development

July 2013 - April 2018

London - UK

2018

Pacific Rim: Uprising

  • Complete Re-design of full Lighting Pipeline and Workflow.
  • Designed and Implemented Scene Assembly tool for Clarisse.
  • Co-designed environment-to-fx-to-lighting workflow.
  • Designed Jaeger destruction look development preset system.
  • Procedural City look development supervisor.
  • Lighting Supervisor of 2 Mega Tokyo fight sequences.

2016

Assassin's Creed

  • Lighting/Look Dev Lead for Seville sequence.
  • Providing lighting setups and workflows for shading, managing and rendering all shots in sequence. (200+ shots)
  • Hero Digidouble Lookdev: Aguilar, Maria (Assassins) and Ojeda (villain)
  • Clarisse Lead, providing training to show artists.
  • Shading Variable Tool Development in Clarisse, plus miscellaneous Clarisse Scripts.


2015

Insurgent

  • Look development with Isotropix Clarisse for Insurgent.
  • Stereo Lead.

2015

Mission Impossible: Rogue Nation

Look development with Isotropix’s Clarisse of:

  • Ethan Hunt, and Benji Digi-Doubles and costumes (except underwater variant)
  • Lock Pick infographics, A-400 Paradoor, and miscellaneous assets
  • Lighting and Look development with Prman 19 of: Mask Machine sequence all elements.

2015

Spectre

Look development with Isotropix's Clarisse of:

  • Westminster Bridge environment
  • Dauphin Helicopter ( destroyed variant )
  • Oberhauser CG scar.

2014

Jupiter Ascending

  • Part of the 5 member team responsible of creating CG wings for final sequence on Jupiter Ascending. Responsible for lookdev of all assets in sequence: CG wings, 2 hero digi-doubles.
  • Look development of various hard-surface assets as well as another 2 digi-doubles and props.
  • Lighting rig creation for hero shots on wing sequence.
  • Miscelaneous lighting shots in various sequences.

2014

Exodus: Gods and Kings

  • Part of lighting team to use Isotropix Clarisse and Double Negative implementation to complete crocodile sequence on Exodus: Gods and Kings.
  • Miscellaneous Look Development of Crowd Assets in Renderman

JANUARY 2013 - JULY 2013

EMERYVILLE, CA - USA

2013

The Lone Ranger

  • Responsible for lighting all CG train extensions on Lone Ranger vs. Fuller train shoot-out.
  • Look developed and lit exploding glass FX elements, and prepared pre-comps for handoff to compositors.

2013

Star Trek: Into Darkness

  • Responsible for lighting all CG seatbelts shots and 4 Engine room CG extension environment.
  • Pre-composed shots for handoff to compositors.
  • Used custom tools and wrote custom scripts to handle some lighting tasks.

2013

Star Trek: Secrets of the Universe Documentary

  • Look Deved the USS Enterprise model provided by ILM from the original Movie translating shaders to V-Ray as well as creating special missing shaders.
  • Using python scripts to automate the process of converting the 600+ shaders and connecting the 1000+ Textures of the model.
  • Camera Layout, Lighting and Rendering

Education

UNREAL ENGINE VIRTUAL PRODUCTION FELLOWSHIP

EPIC GAMES

AUGUST 2020 - SEPTEMBER 2020

LONDON - ONLINE

The Unreal Fellowship is a 30-day intensive blended learning experience designed to help experienced industry professionals in film, animation, and VFX learn Unreal Engine, develop a strong command of state-of-the-art virtual production tools, and foster the next generation of teams in the emerging field of real-time production.

Final Project created during the Fellowship

MASTER OF ARTS IN VISUAL EFFECTS

SAVANNAH COLEGE OF ARTS AND DESIGN - SCAD

SEPTEMBER 2011 - NOVEMBER 2012

SAVANNAH, GA - USA

  • Focus on Photo-real Lighting, Shading and Technical Direction.
  • Mantained - 4.0 GPA average
  • Participated in various Student Films: Legacy, Nature of Life

BSC. IN COMPUTER ENGINEERING

UNIVERSITAT POMPEU FABRA - UPF

2006 - NOVEMBER 2010

BARCELONA - SPAIN

  • Completed in 4 years.
  • Specialitzation in Computer Graphics.
  • Final undergrad Thesis. Awarded 10/10 Final Score.
    This tool created in C++ created a lighting rig file that could be read in most of the 3D software packages available today that recreated as best as possible the lighting taken by an HDR fisheye image or image sequence. Tracking lighting position and light color, size, angle and intensity.

VFX FOR PRODUCTION - COURSE

ESCAPE STUDIOS - ESC

SUMMER 2009

LONDON - UK

  • 12 week intensive course designed to lear the whole pipeline for creating a CG live-action integration shot: Tracking, Modeling, Texturing, Ldev, Lighting, Rendering and Compositing.