On this film I worked in the LA pod of Industrial Light and Magic. It was a remote office with about 80 of us VFX workers linked up to the San Francisco ILM headquarters, and finishing shots as fast as possible. We would speak with supervisors two times every day over Skype, and review shots together in real time over the network. This was a great learning experience for me as Dennis Muren was our direct contact, and every day he gave comments that were very perceptive and helpful which made me understand more about what it means to have a great eye and give effective comments. Using proprietary Lux software with Renderman, we would light scenes with a physically-based lighting and energy-conserving materials strategy that includes Importance Sampling. This modern raytracing workflow requires us lighting artists to use accurately scaled scenes, lights, and falloffs, therefore making renders more consistant, and real-world accurate. One other great technique I learned more about here was “light extraction”, or painting out main lights from the HDR spherical environment, and placing the cut out lights and pyro events onto movable cards for lighting the scene. Specifically I lit the monster in the cave sequence as well as the end sequence where household appliances and debris were magnetically flying through the air to build a spaceship.