Dominic Carus

Work History

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  FX TD

  Axis Animation

  October 2020 - Present
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  FX TD

  Milk Visual Effects

  June 2013 - Present
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  Head of FX

  Automatik VFX

  January 2020 - October 2020

  London, GB

  
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  Effects TD

  Milk Visual Effects

  June 2013 - January 2020

  

  

  
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  Effects TD

  Realise Studio

  May 2013 - June 2013
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  Effects TD

  The Mill

  December 2011 - March 2013

  I joined the Mill in December to work on Snow White and the Huntsman as an effects TD. I was recruited to replace a member of staff who had left mid project. As such, I was the only full time artist working on the project, and was responsible for refining and developing the nCloth simulations used for the emergence and formation of the Mirrorman character. The brief for the project was for a complex nonlinear cloth simulation, which communicated both a liquid-like and a cloth appearance. All of this needed to be tightly controlled to match the vision of
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  Effects TD

  Cinesite

  May 2011 - December 2011

  I joined Cinesite last Summer. I was recruited exclusively as an effects TD on the film John Carter of Mars, creating visual effects using Maya. I completed a number of shots requiring a broad range of techniques including nCloth simulations, fluids, rigid body dynamics (completed using Maya’s native rigid body solver, Bullet and PDI) and also particle systems. The majority of the work I completed for the show destruction based. Further to this I regularly used MEL and Python scripting to solve shot and application specific problems.

  
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  TD

  Double Negative

  January 2007 - May 2011

  I worked for nearly 4 years at Double Negative Soho, completing substantial work on nine feature films. My role evolved to that of an Effects TD. The most last project I’ve worked on was ‘Captain America,’ where I have been creating a whole range of effects using particles, fluids and nCloth.
  
  For the second half of 2010 I focused on high detail texturing on ‘John Carter of Mars.’ I worked using Mari and Photoshop to create a full range of 8k textures. Work was compared to photos of props to ensure a high degree of photorealism was attained.
  
  Earlier in