ILM Environment VFX Work

I worked for a few years in the ILM Generalist Dept, mainly focusing on bg environments for feature film and theme park rides. I'll post more soon.

Worked on a ridge vista that was used on ILM's Stagecraft for bg, lighting, & practical reflections. The mtns were lit and rendered using VRay and then turned those images into textures for optimized geo that ran in Unreal for the volume.

Worked on a ridge vista that was used on ILM's Stagecraft for bg, lighting, & practical reflections. The mtns were lit and rendered using VRay and then turned those images into textures for optimized geo that ran in Unreal for the volume.

The shot of Wexley's demise features an extreme close up of a Final Order Star Destroyer. The detail in the asset didn't hold up for the camera, so I was assigned to go in and model it out. Factoid: Final Order SDs are larger than the Imperial SDs.

The shot of Wexley's demise features an extreme close up of a Final Order Star Destroyer. The detail in the asset didn't hold up for the camera, so I was assigned to go in and model it out. Factoid: Final Order SDs are larger than the Imperial SDs.

Concept artist Brett Northcutt did the approved concept for Cybertron. It then fell on my plate to help execute for the shot. I spent a few days modeling extra detail and rendering some passes to incorporate into the DMP.

Concept artist Brett Northcutt did the approved concept for Cybertron. It then fell on my plate to help execute for the shot. I spent a few days modeling extra detail and rendering some passes to incorporate into the DMP.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

2.5D Matte Painting work for Kong: Skull Island.
Utilizing On-Location Reference Photography and setting up shot projections in Nuke.

For this shot, I was assigned to "sweeten" the base render of the scorched battle field, cliff, and door. Battle debris, red crystal, and  cliff detail were added with matte paint projections using NUKE.

For this shot, I was assigned to "sweeten" the base render of the scorched battle field, cliff, and door. Battle debris, red crystal, and cliff detail were added with matte paint projections using NUKE.

Matte painted sky and cleanup work over cliff render. Animated cloud drift using NUKE.

Matte painted sky and cleanup work over cliff render. Animated cloud drift using NUKE.

A simple matte painting backdrop for Canto Bight. I'd like to point out that there are a few moving lights in the to indicate air traffic. Pixel sized matte painted ships, animated in NUKE.

A simple matte painting backdrop for Canto Bight. I'd like to point out that there are a few moving lights in the to indicate air traffic. Pixel sized matte painted ships, animated in NUKE.

Full 3d Environment

Full 3d Environment