"Spider-Man: Homecoming " - Senior Lighting TD, Sony Imageworks, Vancouver:

- Shot lighting on the beach plane crash and destruction sequence.

"Smurfs: The Lost village" - Senior Lighting TD, Sony Imageworks, Vancouver:

- Key Shot lighting, Sequence light rig setups and compositing setups, shot lighting and compositing.

"Suicide Squad" - Senior Lighting TD, Sony Imageworks, Vancouver:

- Shot lighting and look development.

"Ted 2" - Senior Lighting TD, Iloura, Melbourne:

- Shot lighting and compositing of digital Ted character,
- Created light rigs and shot lighting through compositing solutions.

"The Hobbit: The Battle of the Five Armies" - Lighting TD, Weta Digital, Wellington:

- Shot lighting of Creatures, Digi Doubles and Environments: Bart Cart Seq. and Erabor Battle Seq.

"Dawn of The Planet of the Apes" - Lighting TD, Weta Digital, Wellington:

- Shot lighting of Apes,Bear and Environments.

"The Hobbit: The Desolation of Smaug" - Lighting TD, Weta Digital, Wellington:

- Shot lighting of Creatures, Digi Doubles and Environments: Mirkwood Spiders Seq. and Laketown Seq.

"I, Frankenstein" - Senior Lighting TD, Iloura, Melbourne:

- Shot lighting of Creatures and Environments.
- Provided technical support, optimize workflows, problem solve, created tools using python for the lighting team.
- Created light rigs and custom hdris for nighttime city lighting.
- Modeled, textured and look developed assets.

"Skyfall" - Lead Lighting TD, Double Negative, London:

- Lead lighting & look development on the Tunnel sequence.
- Provided technical support, optimize workflows and problem solve for different sequences.
- Created light rig setup and workflow for the CG tunnel and train for fast turn arounds.
- Shot lighting of CG tunnel, train, set interiors and digital doubles.
- Modeled, textured and look developed assets.

"Total Recall" - Lighting TD, Double Negative, London:

- Shot lighting of full CG environment and cars on the Car Chase sequence.
- CG Layout extensions.

"The Dark Knight Rises" - Lead Lighting TD, Double Negative, London:

- Lead lighting & look development on the stadium sequence.
- Trouble shoot, manage and support a team of TDs for: concept, modeling, texturing, lookdev, DMP and lighting.
- Shot lighting of the stadium and destruction.
- Created light rigs and texture grading setups for the CG field for the sequence.
- Concept, modeled, textured and look developed assets.

"John Carter" - Lighting TD, Double Negative, London:

- Shot lighting of hero characters, crowds and water FX.
- Look development for CG water, created a compositing setup based on custom made AOVs for water integration.

"Harry Potter And The Deathly Hallows Part 2" - Lighting TD, Double Negative, London:

- Shot lighting of environment landscapes and Hogwarts castle, dusk and night time.
- Texture and look developed assets.
- Created foreground Matte painting for the stone bridge.

Digital Sculpture, personal project. It's nearly complete I still need to refine his hair and the cloth. I've used a number of classical influences to design him, mainly the famous sculpture of Augustus Prima Porta and the Monument to Michelangelo Buonarroti by Emilio Santarelli.

Bases were done in Maya then sculpted in Zbrush as well as Mudbox at an early stage. The hair and some of the cloth are still in progress. Rendered with Mental Ray in Maya.

Cinematics soldier character I've been designing and working on. I'm currently texturing, shading and touching up details. Mostly done in Maya, details were sculpted in Zbrush as well as some of the texturing. Added an old WIP render(first image)with Maya and a concept coloring sketch i've done over the clay render in photoshop as reference for the texturing phase.

Work in progress of Bill Murray as a personal project. I started by creating a simple base in Maya and then rough it up in Zbrush. Once some key areas were made I refined it in Maya and Mudbox using references I camera matched in Maya. To get correct proportions and placements I relied heavily on several camera matching from references I gathered, mainly from the movie "Ground Hog Day". I gathered about 40 different angles/shots from the movie and camera matched them inside maya to the base model. Once a few were positioned right I exported the cameras to mudbox where It was easier to manipulate the face to get the right proportions and placements of key details. It was still tricky because the camera matches arent perfect, lens distortion was affecting the references and ofcourse deformation of facial expression in each reference was different, so I averaged most of the references or maintained to 1 hero reference shot I chose. Later a more advanced step was trying to match rough lighting (using Vray) of each reference and test rendering with a simple SSS shader to see how the light, shadows and reflections react on the model, making it easier to understand and correct the curvature of the face details to get a better match.

Commercial for Aminah. Most of the 3d was handled by myself: I modeled (excluding the rear parts/landing gear), textured and look developed the shuttle as well as light and render all the 3D elements with vray and maya. I also captured HDR data on set. I used nuke a fair bit to speed things up: creating and interactively modify HDR data for light rigs, tweaking and modifying lighting in nuke -> to maya, help the compositor with non-destructive workflow.

Shot Compositing, design and creative were handled by Tamir Weiss and Itai Bachar. Additional matchmove and rig were done by Yaniv Gorali.

Commercial for YES done by studio Broadcast. I designed, modeled the two dinosaurs, textured the big one(brontosaur) and light most of the shots in the commercial. Yaniv Gorali Textured the smaller dino and added the fine details. He also shaded and created the light rig for the shots. Rendered with mental ray.

An old Malaysian woman sculpture. Inspired by a national geographic album.

Bases were done in Maya then sculpted in Zbrush. Rendered with mental ray in Maya.

Fast paced project(10days) done for Dreams&Magic inc. The goal was to take an actor, create a digital replica in 3D and then estimate how he will look 15-20 years to the future after a bad life style.

Very basic bases were done in Maya then sculpted and textured in Zbrush. It was then rendered with mental ray in Maya. The hair is shave & haircut composited on.

Commercial for Pelephone done by studio Broadcast. I modeled and light the flying toys. I also helped to develop the shader/look-dev along with Yaniv Gorali and Yotam Natan. Textures were done by Yotam. Rig, Animation and Simulation were done by Yaniv. We used Final render to render this.

For this project I created a Modular light Rig/System in Maya along with Yaniv which is basically a broken up HDR sphere that supplies specific individual lighting, reflections, refractions to the entire shot. It is made up from different data elements (both 32bit images and procedural nodes in maya) that can interactivly change per shot.The HDR final result is created in Maya using math nodes combining projected 32bit data of ground,skys, different suns, sun flare(to fake reflection flare on the glass) as well as ramps and overrides to control intensity/position per element. This allowed interactive control(placement ,color, intensity, visibility, gobos) for everything inside maya per Illumination, Reflection and Refraction for each shot without editing the HDRIs in an outside application. It gave us very fast shot lighting turnaround as well as to be able to get the glass reflections/refractions looking just like we wanted without modifying the shader/HDRI for the whole shot.

Another commercial for Pelephone done by studio Broadcast. I modeled, textured, shaded and light the 3D elements(not including the laptops). Addtional shading and lighting by Yosi Refaeli, Animation by Arye Domnin. Tracking, Simulation Particles & Dynamics, Rig and TD support by Yaniv Gorali.

I used my previous lighitng rig to light the whole thing after an upgrade to the tool with the help of Yaniv Gorali. The rig/tool now has a cg sun (created from baked 32bit lens flares and a ramp controlled glow/bloom attribute) and overides for color/position/intensity controls for all the elements(sun flare, sun glow/bloom, sky/clouds, ground, horizon location) per reflection/refraction/illumination.

1 out of 3 commercial packs for Pelephone done by studio Broadcast. I modelled, textured, shaded and light the train in Maya and Mudbox. Animation, Rig and The CG ballerinas were done by Yaniv Gorali.

The second of the three commercial packs for Pelephone done by studio Broadcast. I modelled, textured, shaded and light the rocket car in Maya and Mudbox. Animation and Rig and were done by Yaniv Gorali.

Commercial done by studio Broadcast. I designed, modeled, shaded, textured the environment as well as light and composite the 3D sequence. The bird models/textures were provided by Broadcast I just did some modifications to the shading of the model and redid the eyes. Animation done by Arye dominin.

Commerical by studio Gravity. I was incharge of creating the background 3d tunnel. I designed, modeled, textured, shaded, lit and rendered using maya and mental ray.

BMW Z4 replica I've been working on, just have some interior details(mainly the front) to do but never get around to it. Made with polys in maya except some interior details which were done with nurbs in rhino. The first render was done with mental ray and served as a compositing test.

Art test for a game studio. I Designed, Modeled and textured using maya and zbrush. 2K diffuse, normal and specular maps. 2,286 Polygons / 4,188 Triangles, 7 days of work.

Super Sculpy Anatomy study - about 14inches high.

Clone Drawing - The same model was drawn at 2 different poses then composed together. About 32 x 26 inches if i'm not mistaken using charcoal. Unfortunately I never got to finish it since I lost this drawing due to lazy Homeland security inspectors at the Miami airport who didnt bother rolling it back into place.

Anatomy/Pose Study of the same female model - 2 Hours.