THE ANTECHAMBER
OPENING SEQUENCE

I was entrusted with look-development & key-lighting the opening sequence, ‘AnteChamber’. Complex brick geometry coupled with raytraced reflections & subsurface scatter that contributed to indirect illumination made this a very computationally expensive scene. Dense atmospheric effects were met with colour separation techniques allowing characters to stand out while delivering their performances.

CUSTOM-MADE GOBOS
& RENDER OPTIMISATIONS

Custom-built gobos were strategically placed in a way that was synonymous with Lego sets built in real life, perhaps the most notable is the rotating gobo under the ‘Kragle’ chest simulating flowing lava. To improve efficiencies, seamless point cloud animation loops were published & fed into the rig at render-time. During final compositing phases, subtle flame flickering of candles were animated on walkways.

THE TV STUDIO
& DRIVING INTEREST

The ‘TV Studio’ key-light rig was primarily defined by practical light positions the layout department had determined. Angles of area lights were cheated to those on set; bounce cards & character lights were re-positioned for shape. “Shatner” lights were incorporated to highlight expressions whilst simultaneously ramping exposures of foreground & background elements to drive separation & interest.

PROJECT
INFORMATION
high-intermediate digital artist: lighting • compositing
  • Animal Logic (201-500 employees; Motion Pictures & Film Industry)
  • March 2013 – December 2013 (10 months, Sydney, Australia)
key lighting: forty-six shots64%
64%
shot lighting: twenty-six shots36%
36%
TESTIMONIALS &
TRAILERS

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

I was Dom’s Lead on the Lego movie and found him an incredibly hard working and creative individual. He tackled some very difficult and complex sequences, with patience and determination. Dom has a very level head and is an excellent trouble-shooter. He is a superb communicator and works very well with all around him.

It was a pleasure to have worked with Dom and I look forward to the opportunity to work with him again.

Shane Aherne

Lighting Lead

Domenick has been an outstanding contributor to the lighting of “The Lego Movie”. He was assigned some very technically challenging shots, including the mammoth opening shot of the movie. It is a credit to Dom’s skill and stamina that the many technical hurdles were patiently overcome and that the lighting of this and other shots in the surrounding sequences was not only accomplished technically, but also sensitively.
Dom has been a positive member of the crew and has taken the time to mentor new starters. He has put in long hours of hard work and has demonstrated total commitment to the project.
I highly recommend Domenick as an accomplished lighting/compositing artist.

Craig Welsh

Lighting Supervisor

2
The Lego Batman Movie
The Great Gatsby