Having recently moved to a Katana & Renderman pipeline at Method Studios, I took initiative in offering insight & suggestions to their show setup. I was able to leverage past knowledge & communicate benefits of alternate solutions in order to streamline templates & render pass processes. Being a pickup of a legacy Houdini show, I was also able to refresh some of my prior skill set in that application.




During the show I began developing an advanced projection tool. This implementation provided a step-by-step workflow to standardise projection practises & incorporated a verification process, facilitating a reliable location solve. Once solves were obtained, lighters could efficiently position lights or any absent geometry. Accuracy was achieved by comparing spherical camera renders against HDRI content.


Using the projection tool (coined Project & Verify), I was able to setup three sequence rigs within a limited time frame & hand off to shot lighters. The base setup was met with success & spawned the beginning of a more complete projection workflow at Method. I completed various shot lighting responsibilities & supported my tools via one-on-one meetings, confluence pages & training videos.


senior lighting technical director
  • Method Studios (501-1001 employees; Motion Pictures & Film Industry)
  • November 2019 – January 2020 (3 months, Vancouver BC, Canada)
key lighting: seven shots100%

I had the pleasure to work with Domenick on Aladdin and Terminator : Dark Fate at ILM. Domenick is not only a great team player, he is also fully dedicated to his work, helped by technical and artistic skills that made him one of the corner stones in our team. As a supervisor, it was really priceless for me to be able to count on him, knowing that any assigned task would go through and get delivered properly regardless of the challenge this would represent. On Terminator : Dark Fate, Domenick stepped up with some sequence lead responsibilities and this was a real success, for him as well as for the team. I look forward to work with him again.

Rémy Dalmas

Lighting Supervisor

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

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

Dom was great to work with. He is one of those artists who really gives everything he has and always looks for ways to give a shot that extra something to take it to the next level. His skilled eye for composition and lighting and fantastic attention to detail were really valuable on Ninjago and I really hope to work with him again on future projects.

Kim Taylor

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

I had the pleasure of working with Domenick for a couple of months at the end of 2011 and into early 2012. Domenick worked as a Lighting Artist on Coca-Cola’s “Polar Bowl” Campaign for Super Bowl XLVI. He was easy to work with and took feedback and direction well. Domenick has a great eye for detail and has a very mature work ethic. It was great working with someone who you can always trust to do everything correctly. Domenick would never waste time waiting for work to come to him. He would always let us know if he thought he would run out of tasks. I would be more than happy to work with Domenick again.

Feargal Stewart

CG Supervisor

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

Terminator: Dark Fate