• Provide in-depth knowledge and solutions of Unity’s engine to companies and users who are planning or already using Unity to develop their Film and TV productions
• Working with our top customers key stakeholders including R&D, I.T and other business divisions to provide solutions for integrating Unity into their pipelines
• Support business development via consulting on technical training and support for closing of business opportunities
• Work closely with Product Management and relevant R&D teams to provide quality technical feedback from our key customers, influence product strategy and roadmap
• Build strong working relationships with technical decision makers and influences within key customer accounts and help achieve a high customer satisfaction
• Attend company, customer and trade events to support sales goals and working relations with customers
lighting supervisor
Industrial Light & Magic
January 2015 - November 2018
london
Avengers: End Game (2019) - Lead Digital Artist
Avengers: Infinity War (2018) - Digital Artist Supervisor
Transformers: The Last Knight (2017) - Lead Digital Artist
Dr. Strange (2016) - Digital Artist
Teenage Mutant Ninja Turtles: Out of the Shadows (2016) - Digital Artist
Digital Artist Supervisor
Industrial Light & Magic
January 2016 - October 2018
London, United Kingdom
Avengers: End Game (2019) - Lead Digital Artist
Avengers: Infinity War (2018) - Digital Artist Supervisor
Transformers: The Last Knight (2017) - Lead Digital Artist
Dr. Strange (2016) - Digital Artist
Teenage Mutant Ninja Turtles: Out of the Shadows (2016) - Digital Artist
• Quality and artistic supervision of lighting with input from VFX Supervisor
• Design, implementation and critiquing generic lighting and compositing to help facilitate the creative “look” of the project
• Determining the need and extent of mattes, paintings, effects, and shaders for digitally composited shots.
• Regularly interacting with the Producer, and Director to understand the desired look as it relates to lighting for the production.
• Delivering final shots to production and ensuring the final technical check is complete.
• Tracking lighting continuity within sequences.
• Participated as a supervising team member in determining various design solutions; efficiency improvements and provided artistic feedback on a shot and sequence level to other team members of the production.
• Coached and guided the team of Lighting TD’s to execute quality performance for the project.
• Partnered with Artist Management to guide artists’ overall professional development, providing performance feedback, mentoring, assist with resolving performance issues and maintaining positive morale amongst the crew.
• Attended all relevant meetings to promote effective communication throughout the production team.
• Actively participated in the recruiting and staffing of the lighting team – assesses the work of prospective candidates for the hiring process and works with Artist Management on hiring decisions.
Senior Lighting Technical Director
MPC
December 2014 - November 2015
London, United Kingdom
The Martian ( 2015 )
Jungle Book ( 2016 )
Software used in production: Katana, PRMAN 20, and NUKE
• Look-development of CG assets to be used across shots and sequences
• Built and supported light rigs, shading setups and composites to be used by other lighters
• Managed render scenes, light rigs and production assets
• Technically and creatively promoted and maintained consistent shot quality and desired look as defined by the VFX Supervisors
Senior Lighting Technical Director
Industrial Light & Magic
September 2012 - December 2014
Singapore
- Transformers: Age of Extinction (2014)
- Star Trek: Into Darkness ( 2013 )
- Red 2 ( 2013 )
- Noah ( 2014 )
Software used: Katana Prman Arnold Nuke
• Look-development of CG assets to be used across shots and sequences
• Built and supported light rigs, shading setups and composites to be used by other lighters
• Managed render scenes, light rigs and production assets
• Technically and creatively promoted and maintained consistent shot quality and desired look as defined by the VFX Supervisors
Digital Supervisor
Lucasfilm
April 2011 - October 2012
Singapore
Star Wars: The Clone Wars, Seasons 4 & 5
• Supervised the technical aspects of the "Star Wars: The Clone Wars" project, including pipeline development and workflow design for the CG elements, which will include environments, characters, and FX and multiple cameras.
• Ran all dailies and shot reviews, clearly and briefly outlining accomplishments and areas of issue.
• Managed and mentored CG artists performance, working closely with the Producer and crew manager.
• Worked with the Associate Producer on the resource plan, ensuring that our team had the technical and creative skills represented to deliver the project's needs.
Lighting & Compositing Supervisor
Lucasfilm
April 2010 - April 2011
Singapore
Star Wars: The Clone Wars, Season 3
• Responsible for directing and guiding the overall lighting of shots on schedule and on budget, balancing artistic and productivity requirements, in tandem with production management.
• In consultation with the Production Manager assign work to artists based on their individual skills and strengths.
• Responsible for reviewing the work of each artist on a regular basis and approving shoots for submission to the Director.
• Partnered with production management to guide artists’ overall professional development, providing performance feedback, mentoring, resolving performance management issues and maintaining positive morale among the crew.
CG Supervisor
Xing Xing Digital Technology (Beijing)
August 2009 - April 2010
Beijing City, China
Dora & Diego 4-D Adventure stereo ride film experience
• Supervises a team of Chinese Artists using an array of commercial and proprietary lighting tools to match CG lighting to on-set lighting
• Establishes suitable work techniques for lighting team members
• Hands-on troubleshooting, overall pipeline planning, workflow decisions
• Works with the producer and production manager to establish schedules and technical requirements
CG Supervisor
Technicolor
July 2008 - July 2009
Beijing City, China
Projects:
Tiananmen
Lovely China
2012
If You Are the One
All About The Girl
Red River
• acted as the artistic and technical leadership on team of Chinese artists.
• performed hands-on troubleshooting, overall pipeline planning, workflow decisions.
• determined technical approaches needed to achieve desired look and behaviors of the production's assets within agreed on technical pipeline
• identified, developed, researched, and implemented new techniques and methodologies into productions.
• designed and implemented lighting of characters and environments for assigned shots that met and enhanced the given art direction for a production.
• created light rigs and adjusted pre-existing light rigs in shot files using Maya and proprietary lighting tools.
• assembled incoming data (models, looks, animation, FX) from upstream departments for lighting adjustments.
• used PRman to produce test, final renders, and separate render AOV passes of all CG elements
• designed and implemented lighting of characters and environments for assigned shots that met and enhanced the given art direction for a production.
• assembled incoming data (models, looks, animation, FX) from upstream departments for lighting adjustments.
• helped establish suitable work techniques for other team members in lighting department.
• assisted the art director and sequence supervisor with developing the look of the sequences.
• designed and implemented lighting of characters and environments for assigned shots that met and enhanced the given art direction for a production.
• using proprietary lighting software "Light" created light rigs and adjusted pre-existing light rigs in shot files.
• assembled incoming data (models, looks, animation, FX) from upstream departments for lighting adjustments.
• assisted the art director and sequence supervisor with developing the look of the sequences.
• designed and implemented lighting of characters and environments for assigned shots that met and enhanced the given art direction for a production.
• using Maya and custom lighting tools created light rigs and adjusted pre-existing light rigs in shot files.
• assembled incoming data (models, looks, animation, FX) from upstream departments for lighting adjustments.
• used Maya renderer proprietary renderer to produce test, final renders, and separate render passes of all CG elements.
Texture Painter
Kleiser-Walczack Construction Company
July 2001 - October 2001
North Adams, Massachusetts Area
Project:
Radio City Music Christmas Show: Santa Lights Up New York
4-D Stereoscopic Animation
• worked with the show supervisors to create the materials that define the look of 3D characters, environments and props.
• created a wide variety of textures (e.g. color, specularity, displacement, etc.) using proprietary and public 2D and 3D paint tools and/or procedural tools.
• created simple shaders to test textures under the look development lighting conditions.
Application Engineer
Alias|wavefront
October 1999 - June 2001
Greater Atlanta Area
Maya and alias studio application consultant & product specialist
Conducted advanced training in rendering techniques and CAID nurbs modelling
Developed imagery used for marketing purposes
