Sucker Punch was my first visual effects based film. As a junior artist my primary objective was to support the senior team by creating a flame flicker setup for the castle’s bailey using several noise maps & traditional lights. The setup had to be efficient, noticeable but subtle for various viewing distances. This setup was eventually combined with the master setups & used throughout.


My second job was to create a light rig for the catapult shots positioned at the top of the castle. After matching colour & light direction of the plate, set element lights’ angles & positions were altered, producing more dramatic lighting & ensuring texture detail was enhanced. Task complexity increased as the production proceeded, working on the dragon character, massive crowd & heavy fx elements.


Other notable duties included translation of concept art to lighting whilst in close communication with the lighting lead, lighting supervisor & VFX supervisor. Colour temperature & lighting direction were important in giving visual cues for audiences. These shots were also technically intense requiring copious ‘massive’ crowd elements at very small sizes which posed various shadow map issues.

junior digital artist: lighting • compositing
  • Animal Logic (201-500 employees; Motion Pictures & Film Industry)
  • February 2010 – July 2010 (6 months, Sydney, Australia)
key lighting: eleven shots48%
shot lighting: twelve shots52%

I’ve worked with Domenick on 2 films, Sucker punch and more recently The Great Gatsby.
On the Great Gatsby Dom keylit some impressive shots of duelling cars racing across the Queensboro Bridge, amongst others.
Whilst having to wrangle some heavy CG sets and our new physically based lighting system Dom retained a fresh creative approach to keylighting.
He is hard working, dedicated and has a passion for pushing the look of the shot. He’s a good collaborator and I’d often find the rest of the crew working on his shot, crowded around his desk discussing
the finer technical and creative points on how to improve it. Taking ownership of the shot is what it’s all about and that’s what Dom does well.
I recommend Dom as a valuable keylighter or lighter for any future film project.

Andy Brown

VFX Supervisor

I worked with Dom on Sucker Punch at AL. He was full of passion and was eager to prove him self. He worked harder than some of us, and his work showed. It was my pleasure to work with Dom and I hope to work with him again in the future.

Richard Sur

Lighting TD

I supervised Domenick for 7 months on the VFX project Suckerpunch, overseeing his work as a lighting artist. In that role he was required to perform various tasks such as creating light rigs, writing python scripts to manage the rendering of layers and compositing those layers in nuke in accordance with the VFX supervisor’s direction.

Domenick has an excellent work ethic, and was very committed to producing excellent work despite the intense pressure placed upon him by the demanding schedule.

I am very happy to provide this reference for Domenick as he was a valued member of the team on Suckerpunch and I would not hesitate to recommend him to any employer.

Graeme McGirr

Lighting Lead

Legend Of The Guardians