Selected film credits, presented chronologically.
Role: Lead Lighting Technical Director Studio: Wētā FX
I worked on Predator Badlands in 2025 for WetaFX as a lead lighting technical director. I worked with a team of lighting technical directors to deliver a body of work for this film in 2025. The work was a mixture of digital double predator face and body replacements, full cg shots and complex cg fx and plate integration.
Role: CG Supervisor Studio: Wētā FX
I worked on House of the Dragon as a CG Supervisor, overseeing asset delivery through the CG pipeline to final render. The project featured three highly detailed, photoreal dragons, each with a distinct personality brought to life through physically based shaders, advanced rigging with muscle systems, dynamic simulations, lifelike animation, with fx simulations of dust, water and fire all rendered in a physically based renderer.
Role: Lead Lighting Technical Director Studio: Wētā FX
Sorting Room — Lighting & Layout Approach
My role on this project was as a lead lighting technical director. The Sorting Room environment was constructed using a modular layout with extensive instancing to maximise efficiency and flexibility. Once the layout was established, we instanced renderable light fixtures directly beneath each light housing.
This lighting setup used an emissive bulb inside the housing to provide visible diffusion without contributing illumination to the wider environment. Environmental lighting was instead handled by an area light positioned below the fixture. This approach significantly reduced render time and sampling noise, while also allowing independent control of light visibility without affecting scene illumination.
By combining a highly instanced environment with an instanced lighting system, we were able to efficiently build, light, and render a large-scale environment with minimal render resources. The heavy use of instancing also reduced cache management overhead, contributing to a more streamlined and scalable pipeline.
Role: CG Supervisor Studio: Wētā FX
I worked on Masters of the Air as a CG Supervisor, overseeing the delivery of CG elements through lighting and rendering. The work included the creation of photoreal, historically accurate aircraft and large-scale environment builds. Crowd extensions were achieved using MASSIVE, while battle sequences were enhanced with FX-driven fire, flak, explosions, debris, and large-scale destruction.
Role: Lead Lighting Technical Director Studio: Wētā FX
I worked on Avatar: The Way of Water as a Lead Lighting Technical Director, collaborating with a small team to deliver sequences set in both jungle and underwater environments. I joined the project at an early stage and was closely involved in the initial setup, look development, and technical testing that helped establish the lighting workflows for the film.
Role: Lead Lighting Technical Director Studio: Wētā FX
I worked on Zack Snyder's Justice League as Lead Lighting Technical Director, collaborating with a small team to deliver complex action sequences. My responsibilities included full-character lighting and rendering for Steppenwolf, environment extensions, and the integration of FX elements such as destruction and dynamic simulations.
Role: Lead Lighting Technical Director Studio: Wētā FX
I worked on The Christmas Chronicles: Part Two as Lead Lighting Technical Director, overseeing the delivery of sequences featuring fully CG elves composited onto live-action plates. My work also included FX integration and environment plate extensions.
Role: Lighting Technical Director Studio: Wētā FX
I worked on Game of Thrones as a Lighting Technical Director, responsible for matching plate lighting to seamlessly integrate dragons into live-action shots. The work involved complex sequences combining matte paintings, FX simulations such as dragon smoke, fire, and destruction, as well as large-scale battle shots featuring hundreds of thousands of zombies, presenting significant rendering challenges.
Role: Lighting Technical Director Studio: Wētā FX
I worked on Animal World as a Lighting Technical Director, focusing on architectural and environment lighting, plate matching for seamless compositing of CG elements, and beauty lighting for characters. To optimize production, we created a moving cyc for exterior train shots, reducing per-shot rendering requirements and minimizing the artist hours needed for each sequence.
Role: Lighting Technical Director Studio: Wētā FX
I worked on Guardians of the Galaxy Vol. 2 as a Lighting Technical Director. My responsibilities included full digital double replacements, full-CG environment rendering, environment lighting design and concept exploration, as well as FX rendering and integration. The environment consisted of a procedurally generated Mandelbrot-style fractal landscape, with instanced geometry layered atop highly detailed static models. This approach presented significant challenges for lighting visualization, iteration, and the integration of FX elements.
Role: Lighting Technical Director Studio: Wētā FX
I worked on Spectral as a Lighting Technical Director, responsible for matching plate lighting for environment CG extensions, as well as lighting and rendering the FX spectral elements.
Role: Lighting Technical Director Studio: Wētā FX
I worked on The BFG as a Lighting Technical Director, primarily responsible for beauty lighting the BFG character within fully CG environments while ensuring seamless integration with on-set lighting. Much of the work took place in interior environments, requiring careful handling of indirect lighting—such as light spilling from brighter exteriors through windows and doorways—which created a soft, natural quality but posed significant path-tracing challenges for rendering. The project also involved sequences with extensive FX and magical elements, as well as plate integration, utilizing multiple NDC projections to accurately project plates through CG glass and achieve seamless compositing with the live-action footage.
Role: Lighting Technical Director Studio: Wētā FX
I worked on Alvin and the Chipmunks as a Lighting Technical Director, responsible for matching plate lighting to seamlessly integrate Alvin and the other characters into the live-action footage. In addition to plate matching, significant effort was dedicated to beauty lighting the characters to ensure their performances read convincingly on screen.
Role: Lighting Technical Director Studio: Iloura
As a Lighting Technical Director I was responsible for plate matching and beauty lighting to seamlessly integrate Ted into live-action footage. The project utilized a combination of 3Delight and V-Ray. A key challenge was achieving a consistent, soft, and “cuddly” appearance for Ted, as light scattering through his fur often required careful experimentation to meet the VFX Supervisor’s creative expectations.
Role: Lighting Technical Director Studio: Wētā FX
As a Lighting Technical Director I was responsible for plate matching, lighting and rendering large-scale crowds and environments, and executing full digital double replacements. My role required ensuring seamless integration of CG elements with live-action footage while maintaining visual consistency and supporting complex battle sequences.
Role: Lighting Technical Director Studio: Framestore
On Guardians of the Galaxy, I was responsible for beauty lighting of characters, vehicles, and environments. The primary environment was procedurally constructed using instanced geometry. One notable element, the floating skull known as “Nowhere,” presented significant lighting and rendering challenges due to the thousands of point lights instanced within the already highly instanced environment. This resulted in a highly complex 3D scene containing hundreds of thousands of lights and millions of polygons, ultimately producing a detailed environment that could be rendered consistently from any angle throughout the sequence.
Role: Lighting Artist Studio: Animal Logic
As a Lighting Artist on The Lego Movie, I was responsible for beauty lighting characters and environments. Many sequences required establishing the visual style from scratch, providing creative freedom to experiment with different approaches that best served the story. This was an exceptionally creative and enjoyable project, with a strong emphasis on aesthetics and the final image over procedural workflow.
Role: Lighting Artist Studio: Animal Logic
On Walking With Dinosaurs we matched plate lighting to integrate CG dinosaurs into live action plates.
Role: FX Technical Director Studio: Wētā FX
Prometheus was the first film I worked on. I worked primarily on the energy desk sequence which involved simulating energy flowing over the desk. The green energy waves pogressed over the sequence so each shot involved simulating more and more of these energy fields. By the end of the sequence there was hundreds of them all with millions of particles. I also worked lighting CG set extension and the lazers orbs that flew down the tunnels.
I graduated from the Queensland College of Art in 2009 with a Bachelor of Animation and began my career in visual effects working in commercials. Those early years were highly formative: deadlines were often extremely tight, expectations were high, and the work frequently sat outside a traditional feature-film pipeline. This environment provided broad exposure across multiple disciplines, including fx, modelling, tracking, compositing, lighting, rendering, rigging, and animation.
During this time, I freelanced as a CG Generalist for a number of small studios, contributing to a wide range of projects for studios such as Motion Circus, Cutting Edge, Postmodern, and Alt VFX.
My first feature film credit was Prometheus at Fuel VFX in Sydney, where I worked across FX simulations and lighting. From there, I went on to roles at Animal Logic in Sydney as a Lighting Artist, Framestore in London, and Iloura in Melbourne, before joining Wētā FX.
Over the past ten years at Wētā FX, I have been fortunate to work alongside exceptionally talented and dedicated artists. During this time, I have progressed through roles including Lighting Technical Director, Lead Lighting Technical Director, and more recently, CG Supervisor.