World-famous compositor and visual effects specialist, Mario Brioschi, known for his exceptional work on Star Trek Beyond, Terminator Genisys, Assassin’s Creed, Wonder Woman, imparts knowledge and experience through his extensive industry background
Renowned visual effects artist and compositing supervisor, Mario Brioschi, captivated aspiring and experienced professionals in the animation and visual effects industry at Sharjah Animation Conference (SAC) with an immersive lesson on how compositing and lighting techniques can transport viewers into a fictional world while maintaining the series’ authenticity.
Brioschi’s reputation precedes him with his exceptional work on notable films such as “Star Trek Beyond,” “Terminator Genisys,” “Assassin’s Creed,” and “Wonder Woman.” But it was his pivotal role as the compositing supervisor for the spin-off prequel of the critically acclaimed “Game of Thrones” show, “House of the Dragon,” that was the focus of his presentation.
Creating worlds that the audience can be immersed in
“As a compositor, my job is to seamlessly blend various elements of a shot, whether they are live-action footage, computer-generated imagery, or both, into a cohesive and believable image that tells the story effectively. It’s a delicate balance between technical skill and artistic vision, requiring a deep understanding of color, light, and composition. When done well, the audience shouldn’t even notice that there were multiple elements in the shot, but rather they should be fully immersed in the story being told. It’s a challenging but incredibly rewarding aspect of the visual effects process,” Brioschi explained.
As the compositing supervisor for the renowned HBO TV-show, House of the Dragon, Brioschi and his team at MPC-VFX brought to life the fantastical world of Westeros with an unparalleled level of artistry and skill.
Bringing the atmosphere of a story to light
In addition to compositing, lighting played a crucial role in bringing the world of House of the Dragon – featuring the flickering torches in the dragon pits to the golden hues of King’s Landing – to life.
Expanding on some of the lighting techniques used, Brioschi said, “The more you research and the more you can have your audience relate to the work the better it will be. In a process we call “painting with darkness”, we used dramatic lighting and strong shadows to immerse the audience in a world where the characters were without hope and faced with a challenge far greater than them.”
The masterclass was an incredible opportunity for both aspiring and experienced professionals in the animation and visual effects industry to witness the evolution of the House of the Dragon project through the production process, gaining insights into the challenges and successes of the team.
The Sharjah Animation Conference concluded after offering many exciting opportunities for top industry professionals worldwide as well as amateurs to come together to share knowledge, learn from each other, and inspire new creative projects.
