Experience

Nexus Studios
• United Kingdom
• Animation and Post-production
• 100 - 200 Employee
• CG Lead

  • Aug 2021 - Present

DNEG
• United Kingdom
• Animation and Post-production
• 700 & Above Employee
• Lookdev TD

  • Apr 2021 - Aug 2021

Cinesite
• United Kingdom
• Movies and Sound Recording
• 700 & Above Employee
• Lead Lighting TD

  • Dec 2019 - Mar 2021


MPC

• Costa Rica
• Machinery Manufacturing
• 1 - 100 Employee

• Lead Lookdev TD

  • May 2017 - Nov 2019

  Projects included: “Pokémon Detective Pikachu” (2019) "Cats" (2019) "The New Mutants" (2020) Projects included: “Pokémon Detective Pikachu” (2019) "Cats" (2019) "The New Mutants" (2020)



Framestore CFC

• Senior Lighting Technical Director

  • Aug 2009 - Jan 2017

  Projects include: "King Arthur: Legend of the Sword" (2017) "Beauty and the Beast" (2017) "The Legend of Tarzan" (2016) "The Martian" (2015) "Paddington"​ (2014) "Edge Of Tomorrow"​ (2014) "Iron Man 3"​ (2013) "Gravity"​ (2013) "Avatar" (2009) "Gravity"​ (2013) - CG Environment Lead; responsible for all aspects of the CG Earth as seen from space, including: lookdev, workflow design & lighting team lead. I worked closely with our shader writers, who had developed a physically-based model of the atmosphere that allowed us to create volumetric lighting effects. This presented me with a challenge; how to create detailed cloud volumes within a thin film of atmosphere (~7 km) when viewed from 400 km above the Earth. Our solution was to map high resolution cloud textures onto concentric spheres that represented cloud at different altitudes, lofting them to 3D point data; giving the cloud thickness, then splatting the points to volume data. I devised a 'density LUT' for the lofting process; a lookup table that mapped texel values to cloud density, in such a way that the final volumetric cloud renders resembled in shape and density the textures that produced them (a WYSIWYG workflow); allowing the VFX Supervisor to art direct clouds in fast iterations, without having to wait for expensive renders before giving feedback. Show less



Intelligent Creatures

• Canada
• Movies, Videos, and Sound
• 1 - 100 Employee

• 3d Supervisor

  • Nov 2007 - Apr 2009

  CG Supervisor and Pipeline Design credits include:"Watchmen", "Underworld: Rise of the Lycans", "Traitor" Intelligent Creatures Inc.; a boutique VFX house mostly known for 2D work, were awarded 325 shots on 'Watchmen'; 309 shots of which were Rorschach's moving inkblot mask. I was hired to create and lead the 3D team, turning a skeleton crew of 2 TDs, into one numbering around 20 that comprised of match-movers, technical animators, animators, fx & lighting TDs, plus a pipeline developer. Temerity Software's Pipeline was brought in to utilise it's automation infrastructure, which I used to tightly integrate Maya, Houdini and Nuke. Personally designing the entire bespoke 3D workflow for the show; I conceived of, designed and implemented a 2D animation rig, which allowed animators to keyframe inkblot shapes simply by drawing them with a tablet; Conceived of a 2½D facial motion capture solution which reproduced the actors performance in 3D in the absence of any facial mo-cap or witness camera data. We delivered ahead of schedule temps of our shots for a studio WIP screening without sacrificing effort toward the final shots, which we also delivered to schedule. Our work was detailed in Cinefex number 117 (April 2009), 'The Manhattan Project'. Show less


Cirkus
• New Zealand
• Animation and Post-production
• 1 - 100 Employee
• Technical Director

  • 2006 - 2007


Meteor Studios

• United Kingdom
• Media Production

• Asset Technical Director

  • Apr 2006 - Sep 2006

  Responsible to streamlining and integrating photo-real digital assets into the Meteor Renderman Production Pipeline, for the Warner Bros. Motion Picture "300" scheduled for release 2007. Responsible to streamlining and integrating photo-real digital assets into the Meteor Renderman Production Pipeline, for the Warner Bros. Motion Picture "300" scheduled for release 2007.


Oktobor
• New Zealand
• Media Production
• 1 - 100 Employee
• Technical Director

  • 2006 - 2006
• Lighting Technical Director

  • Jul 2005 - Sep 2005

  Credit List: “Final Destination III”, New Line Cinema feature film. “10.5 Apocalypse”, NBC mini-series. Asset debugging, technical direction and lighting using MTOR/RAT MEL scripting to improve lighting work flow efficiency. Credit List: “Final Destination III”, New Line Cinema feature film. “10.5 Apocalypse”, NBC mini-series. Asset debugging, technical direction and lighting using MTOR/RAT MEL scripting to improve lighting work flow efficiency.


Photon VFX NZ
• Lighting Technical Director

  • 2005 - 2005


Digital Post Ltd.

• United Kingdom
• Retail Office Equipment
• 1 - 100 Employee

• Head of Computer Graphics

  • Sep 2002 - Dec 2004

  Responsible for supervising and/or creating all 3D CGI elements and characters for intergration into live action television commercials. Responsible for supervising and/or creating all 3D CGI elements and characters for intergration into live action television commercials.



Weta Digital

• New Zealand
• Entertainment Providers
• 300 - 400 Employee

• Keyframe Animator

  • 2004 - 2004

  "I, Robot" I spent a brief stint on loan to Weta doing character animation of the robots in "I, Robot", form my permanent position with Digital Post in Auckland. "I, Robot" I spent a brief stint on loan to Weta doing character animation of the robots in "I, Robot", form my permanent position with Digital Post in Auckland.


Ambience Entertainment
• Movies, Videos, and Sound
• 1 - 100 Employee
• Sequence Lead Animator

  • 2001 - 2001


Jim Hensons Creature Shop (London)

• CG Technical Director and Animator

  • Nov 1996 - Dec 2000

  Credit List includes: December ’00, “Le Pacte des Loups” aka. “The Brotherhood of the Wolf” Davis Film feature film.Technical development, technical direction, effects animation and animation of “Wolf” character using Maya, MTOR/RAT and proprietary software April ’00, “Jason and the Argonauts” Hallmark TV mini-series. Shader writing and texturing of harpy characters using proprietary software and Mental Ray. December ’98, “Toyota Goldfish” ITV Movie Premiere interstitials. Technical direction, character animation and texturing of goldfish using proprietary software and Mental Ray. April ’98, “Merlin” Hallmark TV mini-series. Modelling, texturing, lighting and animation of magical vines using Softimage 3D proprietary software and Mental Ray February ’98, “Lost in Space” New Line Cinema feature film. Technical direction, lighting and animation of “Blawrp” character using proprietary software and Mental Ray. Show less