Peter’s pipeline was heavily live action orientated. As such, shot blocking involved matching colour, intensity & positions of HDRI’s captured on set using mirror ball, grey ball & macbeth chart references. A shot-lighting phase followed where additional lights were positioned to emphasise character’s shape & convey mood. HDRI probes were edited to remove various unwanted on-set components.


Internal scene lighting involved HDRI painting, removal of super-brights lights & replacing them with 3D lights in scene space. HDRI projections were positioned appropriately to match on-set elements. Reflections of prominent plate elements were positioned on cards to improve character eye integration. Further eye work was crucial throughout production with specific ping & reflection maps being added.


Another key-light I worked on was the night-time burrow, which was completely CG. Look-development of McGregor’s torch was met with great success, adding a very graphic yet realistic nature to the shot. Real positional torch data was combined with hand-animated movements. These shots were handled by lighting through to the final compositing phase, liaising with compositing leads.

senior digital artist: lighting • compositing
  • Animal Logic (201-500 employees; Motion Pictures & Film Industry)
  • August 2017 – January 2018 (5 months, Sydney, Australia)
lighting: twenty-five shots100%

I had the pleasure of working with Domenick on Peter Rabbit, I assigned to him few of the most tricky and complex shots of the movie, he delivered them with very high standard, beautiful shots from version 1. He very passion in what he is working on, he tried always to impress with his work. It is a pleasure to work with Domenick because he cares in what is doing!

Francesco Sansoni

Lighting Supervisor

I had the great pleasure having Domenick Simpson as part of my team on ‘Peter Rabbit’ at Animal Logic. His attention to details, creative and technical skills made him the go to person for some of the most complex shots on Peter Rabbit like the full CG night time burrow shots.

He proactively communicated any potential issues and concerns as soon as he found them (e.g. long render times for a character that hasn’t been rendered in lighting before) and independently discussed and suggested solutions with our Lighting TDs.

Furthermore Domenick was easy to work with, a great team player and was always willing to help others.

I hope i will get chance to work with him again in the near future.

Herbert Heinsche

Lighting Lead

The Lego Ninjago Movie