Jiyun Lee

Currently contributing as a lighting artist on feature and episodic projects, building on prior experience in high-quality lighting, rendering, and optimization. Responsibilities include creating lighting setups, look development, and collaborating with teams to achieve desired results efficiently.

• Unannounced Projects, 2024
• Time Bandits, 2024, TV Series
• Avatar: The Last Airbender, 2024, TV Series
• Masters of the Air, 2024, TV Series
• Blue Beetle, 2023, Film
• Responsible for designing hero lighting to define key shots, developing interactive FX setups, and conducting look development for realistic simulations like water, significantly enhancing overall visual impact. My role also included managing technical setups for lighting, layering, and FX integration, optimizing sequences to achieve a balance between rendering performance and visual quality, and collaborating closely with teams to troubleshoot and resolve technical challenges. These experiences have enabled me to contribute effectively to dynamic sequences and ensure seamless execution across various projects.

• Dungeons & Dragons: Honor Among Thieves, 2023 (Film)
• Sonic the Hedgehog 2, 2022 (Film)
• Chip 'n Dale: Rescue Rangers, 2022 (Film)
• Responsible for establishing lighting and layering for sequences, creating cohesive visuals for CG characters and environments seamlessly integrated with live-action plates. My work involved optimizing scenes for heavy fur rendering using Katana and Renderman, ensuring high-quality outputs while improving rendering efficiency. Additionally, I mentored junior lighters by providing guidance, technical support, and assistance in achieving daily targets, fostering their skill development and contributing to the team's overall success.

• Kingdom, 2021, TV Series
• Move To Heaven, 2021, TV Series
• Blade and Soul II, 2021, Game Cinematics
• The Yin-Yang Master I, 2020 , Film
• I was in charge of lighting and rendering CG animals, props, fx elements, and environments, ensuring their seamless integration with live-action plates, contributing to a cohesive visual experience. My role also included managing the lighting and rendering of all CG assets, enhancing visual storytelling and maintaining high-quality results in a fast-paced environment. Throughout multiple projects, I worked with various software like Maya, Clarisse IFX, and Houdini, adapting to the unique needs of each production.

• Dolittle, 2020, Film
• Managed the lighting of CG characters, props, and environments based on reference plates, while optimizing scenes for efficient fur rendering using Katana and RenderMan