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Anthony Shanks
Anthony Shanks
Tech Artist & 3D Generalist
London, United Kingdom

Summary

Working at DNEG has helped me to develop a strong creative and technical skill set, which in turn has allowed me to become a valuable member of the build team. I have been creating assets all the way through from modelling, texturing to lookdev. As such I have a great knowledge of modelling within Maya and Zbrush and texturing in Substance Painter. Also lighting and lookdev within Arnold and Clarisse. I have experience working within the environment generation team as well, using photogrammetry scans and sculpting terrain in Zbrush. Furthermore, my passion for creating assets extends to outside of work as well where I am constantly taking on personal projects in my free time, trying to develop further as an artist and learn new skills. I like to push my creativity by researching other great artists works and show breakdowns, finding inspiration for my own work.

- Experienced in creating both high and low poly hard surface and organic models using Maya & Zbrush.
- Strong ability in UV unwrapping and then texturing in Substance Painter.
- Experienced in lookdev in Arnold & Clarisse
- Solid understanding of the production pipeline & working to deadlines.
- Understanding and experience of 3D Model optimisation for various LOD's.
- Proven production experience and testimonials can be found in my linkedin profile.

Skills

MayaZbrush3D ModelingArnoldHard Surface ModelingOrganic ModelingDigital SculptingTexturingUV MappingLow-poly ModelingPhotoshopLook DevelopmentPhotogrammetryHoudiniEnvironment ModelingClarrise

Software proficiency

Maya
Maya
ZBrush
ZBrush
Substance 3D Painter
Substance 3D Painter
Arnold
Arnold
Clarisse iFX
Clarisse iFX
Houdini
Houdini
Unreal Engine
Unreal Engine
Unity
Unity
Photoshop
Photoshop
xNormal
xNormal
3DEqualizer
3DEqualizer

Productions

    • Mobile Game
      Bash Arena
    • Year
      2020
    • Role
      3D Generalist
    • Company
      Pixion Games
    • TV Production
      Cursed
    • Year
      2020
    • Role
      Modelling/Texturing/Lookdev
    • Company
      DNEG
    • TV Production
      DEVS
    • Year
      2020
    • Role
      Modelling/Texturing/Matchmove/Layout
    • Company
      DNEG
    • TV Production
      The Dark Crystal: Age Of Resistance
    • Year
      2019
    • Role
      Modelling/Texturing/Matchmove/Layout
    • Company
      DNEG
    • TV Production
      Emergence
    • Year
      2019
    • Role
      Modelling/Texturing/Matchmove/Layout
    • Company
      DNEG
    • TV Production
      Letter For The King
    • Year
      2020
    • Role
      Matchmove/Layout
    • Company
      DNEG
    • TV Production
      Chernobyl
    • Year
      2019
    • Role
      Matchmove/Layout
    • Company
      DNEG
    • TV Production
      Curfew
    • Year
      2019
    • Role
      Matchmove
    • Company
      DNEG
    • TV Production
      The Feed
    • Year
      2019
    • Role
      Matchmove
    • Company
      DNEG
    • TV Production
      Doctor Who
    • Year
      2019
    • Role
      Matchmove
    • Company
      DNEG
    • TV Production
      The New Pope
    • Year
      2019
    • Role
      Matchmove
    • Company
      DNEG
    • TV Production
      Les Miserable
    • Year
      2018
    • Role
      Matchmove/Layout
    • Company
      DNEG
    • Movie
      Venom
    • Year
      2018
    • Role
      Matchmove
    • Company
      DNEG
    • Movie
      Mission Impossible Fallout
    • Year
      2018
    • Role
      Matchmove
    • Company
      DNEG

Experience

  • 3D Generalist at DNEG
    London
    August 2019 - Present

    Over the last 8 months I moved full time into the build department as a generalist specialising in modelling, texturing and lookdev. This is where I shine the most as I have such a passion and natural aptitude for 3D modelling and texturing and I enjoy the challenge of taking an asset all the way through the process. I am responsible for creating high quality models with organised and animation friendly topology, also using appropriate naming conventions. I then UV unwrap the models retaining consistent textural density, hiding seams out of sight and making sure it has enough UDIM’s. Finally I move on to texturing the assets using most often Substance Painter. Then taking the exported maps and carrying out the final lookdev on the asset in Clarisse making sure the asset looks as real as possible in different lighting conditions. I also had some experience working with the environment generation team, working on environments for a new feature film project. I used Zbrush to sculpt terrain and used various photogrammetry scans, cleaning them up and making them shot ready. Having had the chance to work with and learn from some of the best at a high end VFX house has helped me to develop a strong creative and technical skill set and grow as an artist.

  • Matchmove/Layout at DNEG
    London, United Kingdom
    April 2018 - August 2019

    I started DNEG as a runner and moved into matchmove to pursue my goal of 3D modelling, I have been responsible for taking on a range of VFX shots that required either a camera track for CG placements and body/object tracks for CG interactions, working in 3DE and Maya to achieve this. I have experience camera-tracking to lidar and to proxy geometry. Capable of calculating focal length and distortion manually and a good understanding of camera lenses. Working also in Layout I was required to use my skills in Maya to put together the assets for the scenes and use my creative eye when putting together a scene making sure it looks correct and everything is working well in the frame.

  • Tech Runner at DNEG
    London, United Kingdom
    August 2017 - April 2018

  • Freelance 3D Artist at Pixion Games
    London, United Kingdom
    June 2017 - Present

    I have been working with the indie games studio Pixion Games at first receiving mentoring on mobile games asset creation and then I became a valued and reliable freelancer for the company. I created many 3D models using a stylized low poly approach and utilizing normal maps and the textures to get in detail without adding excess polys. All the modelling is done within Maya and ZBrush and with a strict limit on the poly count due to mobile restrictions. I modelled from the concept art recreating exactly what was drawn and also being given just mood board ideas and having to come up with the final model/concept myself.