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Clémentine Frère
Clémentine Frère
Freelance artist - previously at Cartoon Network
London, United Kingdom

Summary

I graduated in June 2016 from Ecole MOPA (formerly Supinfocom Arles) with the short movie Gokurōsama.

I moved in the UK in 2017 and worked for one year and a half on the sixth season of The Amazing World of Gumball, first as a layout artist, then moving on to the background department.

I'm now looking for freelance opportunities either remotely or in London!

frere.clementine@gmail.com

Skills

Visual DevelopmentCharacter DesignCharacter ModelingCharacter TexturingLightingCompositingSequential ArtIllustrationComic

Software proficiency

3ds Max
3ds Max
Maya
Maya
GuerillaRender
GuerillaRender
V-Ray
V-Ray
Arnold
Arnold
Mari
Mari
Nuke
Nuke
Photoshop
Photoshop
ZBrush
ZBrush
Storyboard Pro
Storyboard Pro

Reel

Productions

  • Thumb tawog
    • TV Production
      The Amazing World of Gumball - Season 6
    • Year
      2017
    • Role
      Layout & Background Artist
    • Company
      Cartoon Network
  • Covergokurosama artstation
    • Movie
      Gokurōsama
    • Year
      2016
    • Role
      Character Artist, Art Director, Lighter, Comper
    • Company
      MoPA School

Experience

  • Background Artist at Cartoon Network
    London, United Kingdom
    May 2018 - August 2018

    Background Artist on the sixth season of The Amazing World of Gumball.

    Backgrounds on TAWOG need to look realistic; they're a mix between 3D renders and matte paintings using real life photographs.

    Super grateful to Andrea Reali, Yann Benedi and Antoine Perez for their never ending support and advice (and retakes) that allowed me to grow so much in these few months!

  • Layout Artist at Cartoon Network
    London, United Kingdom
    May 2017 - April 2018

    Layout Artist on the sixth season of The Amazing World of Gumball.

    Here's an attempt at listing what the layout process involved:

    - Looking through the whole library of backgrounds to check for reuses; tweaking them if necessary

    - Building new rough matte paintings from scratch for new backgrounds, paying attention that the perspective is correct and the composition works

    - Going on shootings to take pictures to be used by the layout and background team for sequences that require it

    - Creating cameras in Maya to integrate 3D elements in 2D matte paintings if needed, making sure the focal length, horizon line, etc are correct

    - Trying to optimize the production as much as possible by faking camera movements using After Effect 3D layers or camera mapping in Maya whenever possible

    - Creating animated 3D cameras for shots in 3D sets, or shots involving 3D characters

    - Creating rough draft version of assets to be used as references by the other departments

    - Adding camera effects like handheld and camera shakes on After Effects so the director gets a feel for the final sequence

    I learned a ton of things about framings, compositions, camera work, matte paintings, and a lot more. It felt great to work with a team of very talented people, as layout artists we could see that our input was valued by the directors when a problem arose and it allowed us to put a bit of ourselves in the show.