Perhaps the largest set of Gotham is the Batcave. I continued look-development of the red ‘Belfry’ section & developed the walkway lighting used throughout. I subsequently key-lit both the ‘Space Shuttle’ & ‘Car Carousel’ sections, the latter drawing inspiration from ‘Tron’. The Car Carousel showcased a high-contrast core, mixed with blue & burnt orange tones & was used by multiple artists.


During the key-lighting process of Gotham’s ‘Atomic Cauldron’ sequence, I autonomously work-shopped creative ideas with the Production Designer. Whilst remaining conscious of the original objective, further enhancements led to Superman’s cauldron being transformed into a ball of 2,000 lights. By design, complementary yellow & blue coloured set lights offset the characters green & red colours.


During this sequence I researched incandescent shader-based lighting approaches & their advantages applied to production. I devised a shader that yielded customised lighting results based on the colour & type of the brick. This enabled artists to transform bricks matching that criteria into efficient light-emitting objects. This was used extensively by the team tasked with lava based shots.

senior digital artist: lighting • compositing
  • Animal Logic (201-500 employees; Motion Pictures & Film Industry)
  • January 2016 – December 2016 (12 months, Sydney, Australia)
key lighting: forty-seven shots80%
shot lighting: twelve shots20%

I have worked with Domenick Simpson since 2009 in my capacity as a production designer and art director at Animal Logic.

Domenick has worked as a lighting artist on numerous animated film projects including The LEGO Movie, Legend of the Guardians: The Owls of Ga’hoole and The LEGO Batman Movie.

On the latter Domenick performed the duties of a scene lead where he delivered high quality lighting and compositing for several complex scenes. This meant he oversaw key lighting for his assigned scenes, as well as optimising his light rigs and where necessary handing over to other team members – although on certain scenes he lit the entire sequence single handedly.

Domenick is methodical and is able to pitch his own take on lighting while being responsive to feedback and ensuring that said feedback is hit on the next iteration. He is passionate about the shots he is working on and will go the extra mile to ensure they are up to the highest standards.

I can recommend Domenick for any future work as a lighting artist.

Grant Freckelton

Production Designer

I’ve had the pleasure of having Dom on my lighting team on The Lego Movie, The Lego Batman Movie and Ninjago. On each of these films, Dom has made an outstanding contribution as an artist to whom some of the most technically challenging setups were handed for Keylighting.

Dom has a patient, methodical approach to key lighting. He works well with his Leads, his Supervisor, and the Art Dept, seeks advice where appropriate, takes direction well, then gets down to the hard work with a very admirable dogged perseverance. The results are always spectacular.

Standout sequences that benefited from Dom’s hard work and excellent visual sense include (from The Lego Batman Movie): parts of the Batcave (tens of thousands of lights), Batman’s car carousel, and Superman’s Atomic Cauldron in the Fortress of Solitude… (from Ninjago): the sequence keylighting and lookdev for the CG cat (widely thought to be live action), and parts of the interior of Garmadon’s Volcanic Lair.

It’s not for nothing that I call Dom ‘The Dominator’. He’s welcome on any lighting team of mine anywhere, any time. Highly recommended.

Craig Welsh

Lighting Supervisor

The Lego Ninjago Movie
The Lego Movie