Here is my current lighting and rendering showreel. I'm working on some new shots for it and will update it soon, but this should give you a good idea of what my work looks like.

For more info drop me a mail or visit my website.

pauldavis78@hotmail.co.uk
paulherbert.webs.com/

Or follow me on Twitter for my random musings about cameras, movies and vfx
@PixelChimpReal

Shot Breakdowns

Crysis 2 Teaser Trailer

As the only lighting artist in the team of 7 animators and artists, I was responsible for working with the director and producers to establish a look for a war ravaged near future New York.

In addition to lighting, I used the asset library from the game to add detail and dressing to the streets and buildings.

I also worked on establishing a colour grade and adding atmospheric effects, particles and worked with the animators to tweak camera angles and add depth of field effects to the cameras.

This project was animated in 3ds Max and the lighting, effects and rendering was made using the game engine.

Planet Dinosaur

I was one of a small team of lighting and rendering artists that worked on this project. Each artist was assigned a sequence in each episode and would work with the director, compositors and matte painters to complete each shot.

In addition to lighting and rendering, I also worked on creating shaders for the dinosaur skin and also would make pre-comps to test my renders before handing them over to the compositors for final compositing.

Battalion Wars II

I was part of a very small team of artists and animators and as such had multiple roles in this project.

Working from storyboards and a couple of pieces of concept art, I was given a lot of scope for designing how the final lighting and shots would look.

I was given animated characters and simple sets and I would work on the materials and textures of the scene, setup and animate cameras, add the lighting and effects, render, composite, colour grade and edit the final sequences.

Inside The Human Body

Joining the production part way through, and working in a team of three, I helped the lead artist create the additional shots needed to complete the project.

Taking animation created in XSI and importing it into 3ds Max, I setup the environments and created matte paintings which were projection mapped onto low resolution 3d geometry for the background.

I would then create the lighting for the foreground and hero elements of the shots and setup dynamic effects such as the ribbon motion on the sperms tails and interactions with the foreground elements.

I also created look development composites of my renders which the director liked enough for some of the shots to make it into the final show with only minimal tweaks.

Personal Work
Bookcase match lighting

Photographing a chrome sphere with multiple exposures, I created an HDR image which I used to match the reflections and lighting of the background plate. I also photographed a matte grey sphere to capture light colour.

Materials were created and render passes were made in 3ds Max and Brazil renderer and composited in After Effects.

This scene uses stock 3d models.

Dinosaur On Table

Photographing a chrome sphere with multiple exposures, I created an HDR image which I used to match the reflections and lighting of the background plate.

I also photographed a matte grey sphere to capture light colour. Materials were created and render passes were made and composited in After Effects.

I also camera tracked the live action footage to create the camera move. Models, textures and animation by Rhys Griffin.

Clone Trooper

I photographed a chrome sphere with multiple exposures, and created an HDR image which I used to match the reflections and lighting of the background plate.

I also photographed a matte grey sphere to capture light colour. Materials were created and render passes were made and composited in Photoshop.

I modelled and textured the head using Facegen. The trooper model was created by Emilio Lorenzo at scifi3d.com/

Dinosaur At Sunset

I used a dinosaur created and animated by Rhys Griffin, and an HDR stock sky image for the background and ambient light.

I wanted a handheld camera effect so I shot a live action camera move and tracked it in PF Hoe. The tracked animation was imported into 3ds Max and I added a second layer of hand animation to tweak the camera move to look at the dinosaur more.

I lit the scene and composited it in After Effects.

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