Tag Archives: Dreamworks Animation

Siggraph Spotlight: Paolo Deguzmen

Tell us a little bit about the Siggraph panel.

On Tuesday, July 30 from 3:45-5:15 (West Hall B), I am honored to be a panelist presenting the production session:  “How to Train Your Dragon: The Hidden What?.” We will be discussing the challenges and hurdles we encountered during the production of the final film in the How to Train Your Dragon trilogy—one of which includes developing, testing and deploying a whole new workflow in just a few months time. I will be speaking on the task of overhauling our shader and material workflow to improve the trilogy’s visual appeal while maintaining the style and spirit of the previous film. 

Tell us a little bit about your career journey.

As a child I did nothing but doodle and scribble on any piece of blank paper I could get my hands on, and it was that long ago that I decided I had to work in the visual arts. Ironically, I remember saying I never wanted a desk job working in front of computers crunching numbers. Flash forward to my present day desk job working in front of computers crunching pixels for almost 25 years. Obviously, what I do now wasn’t even remotely imaginable when I made that declaration, but here we are. Though it sounds terribly cliche, I still look forward to coming to work daily. If you asked me on my first day in the industry (as a runner at Digital Domain) where I pictured myself to be in 25 years, my answer would be a nearly identical description of what I’m doing now. I feel utterly blessed to be able to say that and to be doing it surrounded by some of the most creative and accomplished artists and technicians in the world. 

What’s your favorite part of your job?

My favorite thing about my job is the people I get to spend each day with. Not a day goes by where I don’t learn something new, creative and inspiring from those around me. They come from all walks of life and from every corner of the world. It never gets tiresome hearing anecdotes from industry vets, learning new techniques, and discovering the fascinating histories of co-workers, old and new.

Where do you get inspiration for your work?

As previously mentioned, I find great inspiration from those I work for and with. I gain so much knowledge from the Production Designers with whom I get to collaborate. I also value the fact that I get to work directly with the creative brain trust on films where my input is considered and welcome. Another source of inspiration is looking at all the creative artists online, especially Instagram, and observing their works in progress and seeing their processes. The potential danger though is you can quickly get sucked into the rabbit hole and hours later after seeing all this mind-blowing work, it often reinforces one’s insecurity with their artistic abilities not to mention the waste of time being a consumer and observer rather than being a practitioner to produce art.

What do you enjoy doing outside of work?

Any creative outlet that allows me to utilize my skills and passion take up my late hours—be it learning plein air techniques and any traditional “analog” media as well as writing and playing music. Recently, I’ve rediscovered and become intrigued by vintage synthesizers and other analog hardware. And, one distant dream of mine is learning the art of woodwork and 3D printing to construct mid-century style cabinets and furniture to house modern technology and equipment.


Paolo deGuzman is a surfacing supervisor at DreamWorks Animation. His credits include How to Train Your Dragon 2 & 3, Rise of the Guardians and Puss in Boots.

Member Spotlight: Iveth Bueno

Bueno’s journey as a lighting and compositing artist has taken her from Mexico to London, Canada to now Los Angeles. She currently works at DreamWorks Feature Animation and is also a growing, active member of the Animation Guild, serving on the Communications Committee. Here, she talks about both her professional and personal work.

Tell us about your professional journey.
It all started in Mexico. During my first semester at college, a teacher saw potential and offered me a position as a Director’s Assistant at the studio where he worked. I took advantage of the opportunity and learned from all the artists at the studio, then began helping out as a 3D generalist. I quickly found out that lighting and compositing were my passion and I decided to specialize in that area. For six years, I worked in Mexico at different advertising studios and on one feature film. Soon after finishing school, I moved to London for six months to study compositing for VFX. While there, I worked on various independent short films. This helped me get a job in Canada at Rainmaker, where I worked on a made-for-TV feature project. Shortly after finishing the project at Rainmaker, I got an opportunity at Walt Disney Animation Studios as a lighting apprentice, where I worked on Zootopia. For the past three years, I’ve worked for DreamWorks on exciting projects such as Trolls, How to Train Your Dragon: The Hidden World, and many others.

The Inka’s Empire

How did you adapt to the working culture in the U.S.?
Fortunately, it wasn’t hard to adapt. I was born and raised in border cities so the city culture is similar. Studios are more experienced, organized and better structured in the U.S.  However, one of the biggest challenges of working in a different country is the language, but I have been lucky to be surrounded by a lot of understanding international and local artists


You are in a male dominated field. What’s your advice to other women who want to purse a career in CG?

Be patient and strong, never give up, and be the best artist you can be, always. It is a challenging industry anywhere in the world. Many of us have experienced situations that demotivate us, and sometimes we need to prove to ourselves more often than our male colleagues. Fortunately things are changing, and I’m hoping it will be easier for future generations to find equality. The desire for change is in all of us, we just need to make it happen.

Tell us about Optical Forest and your light painting?

The Optical Forest is a collection of photographs that explores light using handmade filters and in-camera effects, focusing mainly on diffraction. It started as one of those “mini projects” that fortunately has become a bigger one. In 2017, my feature work slowed down a little bit, so in my spare time I started to photograph light diffraction as a science reference. What started as just snaps evolved into something more artistic and creative. It has been really fun to learn how to paint with light and discover different kinds of diffracted lighting effects. I’m excited to see how this work evolves and improves over time.