Several high-end shots are now at the stage where texture work, lighting, and final comps must all line up perfectly with the special-effects plates. I will supply the base models, reference footage, and production LUTs; your task is to push them through a full Lookdev and Lighting pass, keeping every step VFX-ready. The workflow centres on Substance Painter for texture and shading authoring, then moves into Maya for shader assignment and lighting builds, with Nuke handling multi-pass compositing. Media Encoder comes in at the very end for shot-ready delivery formats, so clean naming and folder structure are essential throughout. Acceptance for each shot will be based on: • Substance Painter project files with non-destructive layers intact • Maya scene with assembled shaders and lighting rigs clearly organised • EXR render outputs (beauty + required AOVs) ready for Nuke ingest • Nuke script delivering a balanced, grade-matched comp that integrates seamlessly with supplied VFX elements • Final ProRes or H.264 versions encoded through Media Encoder following the show’s delivery specs Keep everything colour-managed (ACEScg workflow) and versioned so the team can pick up where you leave off.