Jungle Book


Jungle Book has been an incredible endeavour for the London based team at MPC, one that pushed all of us above and beyond what we had done before for scale and complexity.

A lot of technology has been created and implemented into the pipeline and new ways of working have been tried, becoming the blueprint for future projects. The whole team shone with enthusiasm and dedication and -in my humble opinion- the results show that outstanding level of passion.
I believe all the awards that the show won (which include Accademy, Bafta and VES amongst many others) are also the testament to that.

Being the Jungle Book Set Team alone as big as seventy people, I believed the most responsible thing to do was to take a step back and focus more on the managerial side, to ensure the machine was running smoothly for every production my department had at that moment in time.
However, I also had a few brief opportunities to stuck in and get my hands dirty with some creative work, to help the guys ‘in the trenches’, which is something that always makes me very happy.

July 2014
Client: MPC // Disney
VFX Sup Client : Robert Legato
VFX Sup Client : Adam Valdez
VFX Sup MPC : Charley Henley
ENV Supervisor : Audrey Ferrara
ENV Supervisor : Marco Rolandi
ENV Lead : Stefano Cieri
ENV Lead : Stefano Farci
ENV Lead : Jules Bodenstein
ENV Lead : Luca Bonatti
ENV Lead : Danny Geurtsen
ENV Lead : Pascal Etangsale
Stormy Far Background // Crop of a 180° Cyclo DMP before compositing.

This cyclo was supposed to provide the far background to the scene in which Shere Khan attacks Mowgli. These shots are followed by a fairly dark and stormy sequence, so we went through a lot of permutations to find the right ratio between rain and clear background and I must have created more than a dozen versions of it.

However, toward the end of the show the direction of the sequence changed and since I was working on something else, another artist had to replace the heavy stormy sky with a much brighter and open one.

Stormy Far Background // Detail of a 180° Cyclo DMP before compositing.

This Cyclo was projected onto simple geometry and the painted ground was mostly covered by CG.