Real world production experience having worked across multiple projects for a London based Visual Effects studio. Successfully integrated into a leading feature film pipeline and dealing effectively with the pressure, complexity and deadlines of 3D animation. With contributions towards "Wrath of the Titans", "Dark Shadows" and additionally "Prometheus" and "Jack the Giant Killer".
Good Knowledge of central industry software suites and high level understanding of modern content creation pipelines; from initial polygon to final composited image. Solid core computing skills with strong python and system scripting for task automation. Comfortable working in both Windows and Linux environments.
Passionate and thoroughly engrossed within Art and Design with good foundations and academic qualifications. Actively pursuing and enjoys working with technology and exploring the creative possibilities of the digital medium.
This piece was a project completed as a part of my university studies and the task was to research and create an accurate artistic representation of St Albans Cathedral. After planning and preparation, which involved gathering and sorting research photography for the site, the model was created in Autodesk 3DS Max. The model was rendered using Mental ray, globally illuminated using the sun and sky system for a natural and appealing lighting setup. Finally the image was graded and adjusted in Photoshop. My favourite part of the project was modelling the window detail which required good observational skills and accomplished technically by using booleaned spline shapes.
This visualisation was a small personal project to recreate my rental flat and a chance to explore new ideas. The main goal was to mimic the indexicality of the digital photograph and this influenced everything from the camera angle to the deliberate inclusion of JPG artifacts. I also wanted to explore geometrical minimalism, the tension between primitive shapes and photo realism. Excluding the chair and bedding, all models were kept to simple rectangles, with the believability coming from the material definitions and post work. The bedding was created through cloth simulations, knowledge gained from my professional work as a Character FX artist. The final image was rendered in separate 32 bit passes and reassembled and composited with nuke.