. . .

About me

Hello,

I'm a London based 3D Generalist specialising in Lighting and Look Dev. I am now looking for a new role to keep me challenged - I have previously held roles as a 3D Generalist and Lighting TD and would like to further my extensive experience in these areas.

With that aside, I'd like to take you through a few of the shots on my showreel:

Shot at 0:45:

This is the one of the most strikingly stunning sections of my reel. A very complex scene to produce, it forced the use of a wide range of techniques to get the final outcome. Within this I worked on all environment assets - from modelling to look dev, scattering trees/distant assets, painting out modern buildings and integrating the CG environment.

Conceptually, the shot aim was to "de-age" London - removing all modern buildings/skyscrapers; replacing them with infrastructure of the time.

Shot at 0:58:

This shot again required a broad range of techniques. Starting with photogrammetry of Saville row and demolition sites, moving on to re-projecting textures, applying a damage texture pass. And to tie it all together - lighting and look dev, and simulation for the police banners.

Shot at 0:49: I was wholly responsible for the texturing and look dev on the drone and package, and set up of the lighting to match the plate. An aspect I enjoy, every time I see it, is the drone passing close to the hanging lights; where you get a sharp spec hit on both the drone and the package. This is a rare opportunity where you can clearly see all the texturing work that goes into an asset like this.

Lion King Shots:

For a lot of the lighting on these shots I used multiple HDRi's; with the sky and sun separated, enabling us to control them independently. A lot more of the look could then be controlled by shadows with GOBO's; to stage the characters. This would often mean dappling the background and shadowing the foreground, leaving a "stage" of light for the character.

A large part of lighting on the Lion King was scene management and optimisations. As we were dealing with huge data sets, getting them to render on the farm was a great challenge and often required splitting up the environment into multiple passes; often 3 to 5 splits were needed. This posed challenges because it entailed dealing with a lot of MPC's proprietary caches for scatter, which couldn't be split easily.

Details

AvailabilityLooking for work

ContractPerm, Freelance, Temp-Perm, Remote

LocationLondon, United Kingdom

Skill LevelMiddleweight, Senior

LanguagesEngland

Tagged Job Titles3D Artist, Artist, Creative

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Recommendations

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Skills

3D Design, 3D Modeling, CG Modelling, Lighting

Sector Experience

Advertising, Film (Feature)

CV / Resume

Luke's CV/Resume

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Creativepool member since 17 July 2020

Luke's work

Luke Webster ShowReel 2020

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