Category: Generalist


Had  a chance to work on a couple of minor assets in this commercial.

The main challenge of this project was using Solid Angle Arnold as main render as well as Arnold shader.

Ive played with Vray shader previously in 3DsMax, and would say Arnold shader settings are fairly similar with Vray shader settings. However, still figuring under AiStandard, how is  reflection being affected when tweaking just Specular setting. While there is another standalone “Reflection” tab in AiStandard.


Responsible for lighting, lookdev and render. All was done in Maya, some texture paint in Mari and lookdev using Arnold.


Below is a short breakdown of the Scene with couple of main passes.



Some of the materials prepared for the scene.



Didnt really have the original location HDR to light the scene while using a similar indoor studio HDR to help cast reflection on the assets. If given sufficient time, would love to craft more details on the assets itself. 🙂




Generalist Reel 2015

Before I was working as a Texture and Lookdev Artist, I was a Generalist…

Majority of the work are Digital Matte Painting (sky and clouds, grass), track removal, cg grass extension, paint patches, modelling, texturing, lookdev, rendering, compositing.

Softwares used: Maya, 3Ds Max, Vray, Zbrush, Photoshop, Mari, Nuke

2014 – Transformers 4 (Uncredited)
– To reconstruct a clean plate from original shot for additional FX and Animation interaction
– Far background digimatte extension
(3 shots)

2014 – Unbroken (Uncredited)
– Sky and Cloud extension over blue screen plate (4 shots)

2014 – Stange Magic (Credited)
– Texture work on tree barks, ground, leaves
– Digital Matte Painting of skies, clouds
(Approximately 34 shots)

2014 – Jurassic World (Credited)
– Digital Matte Painting of skies, clouds, trees, grass, ground
– Set Extension
(Approximately 27 shots)

Some of the shots that was done for Jurassic World.

Matchmove Reel 2012

Before I was working as a Generalist, I was a Matchmover…

Involved in camera tracking and facial tracking. Most camera tracking are for set extension as well as visual effects purpose. Part of the task involves object tracking as well.

Matchmove Artist on:
2011 – Captain America The First Avenger  (Credited)
– Layout for Set Extension (Approximately 7 shots)

2011 – Harry Potter and The Deathly Hallows Part 2  (Uncredited)
– Layout for Set Extension (Approximately 3 shots)

2012 – John Carter  (Uncredited)
– Facial matchmove of Tharks – Green Martian Clan (Approximately 14 shots)

2012 – Battleship  (Uncredited)
– Layout for Set Extension and Sky replacement (Approximately 10 shots)

2012 – Snow White and The Huntsman  (Uncredited)
– Layout for Set Extension and additional Creatures (Approximately 6 shots)

2012 – The Bourne Legacy (Credited)
– Layout for Set Extension and additional FX (Approximately 26 shots)

Matchmove Reel 2012

This was completed about a year ago. The task was to recreate a digital asset base from the real world, and the requirement is that it has to have more than four different surface quality. I chose razor as its more challenging in terms of surface shading. Below is a final render of the Razor.

Modelling was done in 3dsMax, and UV unwrap with Maya.




Some mask maps created in Photoshop for certain details.


Some of the materials created specifically for the razor. Rough and smooth metallic surface,rubber, plastic, matte surface.


Didnt really have a good HDR to use for environment reflecting on the razor. But the render was pretty descent with the details in it. If theres chance, would spend a little more on getting the metal surface looking more closer to the reference especially on the razor body.


And last final render with Vray without grading in nuke and photoshop.


Strange Magic

This will be an update on some of the shots done for Strange Magic as a Generalist. A variety of tasks covered such as 2D projection in nuke, Texturing, Digital Matte Painting and 2D animated elements.

This is the opening sequence. The task was to make sure the Clouds have proper lighting direction. And there was a moment where the sunlight was shining from above which there will be shadows cast beneath the clouds. It was pretty challenging as to know how much of shadow and direction it needs to be filled in.

And also taking care of the far background forest of trees.

These are few of the shots thats was also dealing with the sky and far background forest of trees. Most of these shots are 2D Projeciton in nuke.

As for this shot, the task was the fill in details, shadows and depth to the ground where the character is seated on. I had to get the details painted out in photoshop and 3D projection it, color grade it back in nuke.

For this shot, its more of a challenging task. The initial take was the tree bark texture were too low resolution and less detail. I had to get a higher resolution texture back on it, and also get the lighting direction correct in that shot. The texture was done in photoshop and later 3D projection back on the tree geometry in nuke.

As for this shot, it was just a 2D crack painted in photoshop and 3D projection back in nuke. And also animate and time how the crack reveal.

This is the final shot for Strange Magic. I was appointed to create a sunset like digital matte painting. It was pretty challenging task! First of is to get the mood to look correct, and next was how the lighting direction would be. Had to go through a number of sunset reference to understand how the clouds would sit in the sky and how would the sun would lit them from a certain angle.

*Will update with the final shot video soon!*

Will be updating the next project later this year! Heres a teaser of it:)

Will be sharing two projects that were completed over at Industrial Light and Magic (ILM) during 2014 under the Generalist  discipline. Majority of the work done were plate reconstruction, sky and clouds extension.

1st Project



Transformers 4 Age of Extinction ( Completed 3 shots )



This was the first plate reconstruct shot done over at ILM. It was challenging! In the original shot there was a pole and a crane,smoke,sparks and debris in front of the silos (as indicated in the reference image above in green). All of those elements have to be removed for additional FX as well as animation of Optimus Prime piercing through Lockdown with his sword. The plate reconstruct work were done in Photoshop, painting out the pole and crane. And nuke projection technique to project back onto the original plate for additional stuff.




The other two shots were just adding far background 2D extension of Hong Kong cityscape. Its just to help tie in the shots where the silos are to Hong Kong.


Unbroken ( Completed 4 shots )

There was a sequence filmed by the pool side with a blue screen behind. The tasks were to have clouds and skies digital matte painting to replace the blue screen (as indicated in the below images for reference). It was a big challenge for me as a new Digital Matte Painter! Ive to get the clouds to look like they are sitting on the horizon of the sea and also have the clouds to have details showing where the sunlight is coming from, the depth of the clouds that were sitting in the blue sky.










Next update will be Strange Magic which approximately 34 shots were completed 🙂

There were various tasks done for Strange Magic that includes texturing, lighting, sky and clouds extension, 2D gag animation, paint patch and set extension.

Its been awhile since the last update. However there will be some updates on Generalist and Digital Matte Painting works coming very soon done at Industrial Light and Magic in 2014 and 2015.

A little teaser of the four shows thats done 🙂