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Intro

Summary: A senior Modeller, Texture and Lookdev Artist with leadership experience working in the film visual effects industry, based in Singapore.
Specialities: Creature, character, vehicle and environment modelling, texturing and lookdev.
Current Position: Lead Assets Artist at ILM Singapore

Get in touch to request a CV and extended DVD reel to review my work in more depth.

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Responsible for around 30% of Dragon textures, as part of a small team of texture artists. My contribution included layout of scales and developing the approach to texturing, which included procedural techniques in conjunction with photographic textures. At some points I was the only texture artist working on the dragon, working closely with concept to develop the look.

I was also responsible for leading a small texture team for the Dawn Treader ship. This included projection and UV based texturing to match the look of the full scale Dawn Treader set. I produced around 20-25% of all of the textures used on the Dawn Treader.

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Responsible for leading texturing team, reviewing work, training artists and working with leads from other departments. Clash of the Titans was the most challenging show I have worked on with everything from creatures, animals and humans, to buildings, terrain, boats and props needing to be built.

My contribution to the actual textures produced include around 25% of all Kraken textures and displacement, which consisted mainly of high frequency detail, tentacles, barnacles and seaweed. A tileable, more procedural approach was used in conjunction with base textures to cope with the heavy detail required. The Kraken is amongst the biggest characters MPC has ever created.

I did all of the textures and displacement for the Harpies, which included several displacement maps created in Mudbox, and textured the Andromeda digital double amongst various other smaller builds.


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Responsible for modelling and texturing various digital doubles. All digital doubles were built to a very high resolution, and many used Mova technology for facial animation. Each model and texture needed to be matched extremely closely to reference images of the actors, and time was spent lining up cameras in Maya to allow for accuracte projections in texturing. I was also involved in modelling of the Pigmy-Puff character.

The names of the digital doubles I worked on include: Montague, Peakes, Katie, Nigel, Warrington, and Seamus for modelling; plus Coote, Zabini and Katie, for textures.


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Responsible for all texturing and displacement of the Joe Sub and Destro Sub. These two submarines are two of the four types of submarines used in the film, and were built to a very high resolution as they were used close-up in shot.. The Joe Sub also had to be destroyed so there was a variation to create the destructible version. I also did textures and displacement of digital doubles Baroness and Underwater Joe Pilot.

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I was responsible for modelling all Fauns involved in the show, which included high resolution digital doubles, several variations, leg replacements and crowd characters. I modelled the digital double of cast member Edmund and modelled and textured two hero dwarfs. I also modelled two centaur characters, including Ironhoof and a child centaur. Other contributions include, muscle flex blendshapes for many animals and various high resolution props.

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10,000 BC was the first project I was involved with in my career. I was responsible for modelling 5 hero digital doubls of cast members TicTic, Karen, Lukibu, Baku and Quina. I also modelled 5 generic digital doubles and modelled and textured various crowd characters. Other responsibilities included modelling various props, cranes, boats and mammoth net. I did all variations of the Giza mammoth.

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Responsible for full face replacment model of baby and facial shapes. The face replacement was used in a few shots at the start of the movie. I was also responsible for modelling buildings for the North Pole city build.


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Responsible for modelling various ground props, buildings and boats, which were used in various shots but generally seen from a distance.


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I was responsible for texturing various objects on the roof of the prison. The prison was used in a few shots in the movie.


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I created the football stadium model used for the matte painting in this shot. A full detailed model of a football stadium was made to give the option for it to be used in multiple shots, though it was eventually only used for one shot, but was also used in the trailer. The matte painter (Olivier Pron) used the model as a base to create the destructed football stadium.

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Responsible for concept modelling of Alamut tower, and various smaller buildings.

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Avengers 2

Avengers 2

Pacific Rim

Pacific Rim

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Noah

Warcraft

Warcraft

Warcraft

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Hitman Agent 47

Hitman Agent 47

Hitman Agent 47

Hitman Agent 47

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Star Trek 2

Star Trek 2

Star Trek 2

Star Trek 2

Star Trek 2

Star Trek 2

World War Z

World War Z

World War Z

World War Z
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