hensley

I teamed up with Director Joe Sill and the amazing Impossible Objects crew on a virtual production job that mixed the best tools out there. As VAD Supervisor, I led a small team to build and light environments while working closely with the talented Virtual Production Supervisor / Cinematographer Luc Delamare.

We shot the ICVFX parts—vehicle interiors with talent—at Nant Studios. I made sure our environments fit the shoot perfectly.

For the exteriors, we upgraded everything in Unreal Engine using Path Tracer for lighting and rendering. Luc managed the lighting and set up a render pipeline on AWS, while my team helped wrap up the CG before it went to the 2D crew for final touches in Nuke.

I teamed up with Director Joe Sill and the amazing Impossible Objects crew on a virtual production job that mixed the best tools out there. As VAD Supervisor, I led a small team to build and light environments while working closely with the talented Virtual Production Supervisor / Cinematographer Luc Delamare.

We shot the ICVFX parts—vehicle interiors with talent—at Nant Studios. I made sure our environments fit the shoot perfectly.

For the exteriors, we upgraded everything in Unreal Engine using Path Tracer for lighting and rendering. Luc managed the lighting and set up a render pipeline on AWS, while my team helped wrap up the CG before it went to the 2D crew for final touches in Nuke.

I teamed up with Director Joe Sill and the amazing Impossible Objects crew on a virtual production job that mixed the best tools out there. As VAD Supervisor, I led a small team to build and light environments while working closely with the talented Virtual Production Supervisor / Cinematographer Luc Delamare.

We shot the ICVFX parts—vehicle interiors with talent—at Nant Studios. I made sure our environments fit the shoot perfectly.

For the exteriors, we upgraded everything in Unreal Engine using Path Tracer for lighting and rendering. Luc managed the lighting and set up a render pipeline on AWS, while my team helped wrap up the CG before it went to the 2D crew for final touches in Nuke.

I teamed up with Director Joe Sill and the amazing Impossible Objects crew on a virtual production job that mixed the best tools out there. As VAD Supervisor, I led a small team to build and light environments while working closely with the talented Virtual Production Supervisor / Cinematographer Luc Delamare.

We shot the ICVFX parts—vehicle interiors with talent—at Nant Studios. I made sure our environments fit the shoot perfectly.

For the exteriors, we upgraded everything in Unreal Engine using Path Tracer for lighting and rendering. Luc managed the lighting and set up a render pipeline on AWS, while my team helped wrap up the CG before it went to the 2D crew for final touches in Nuke.

As a personal project for Happy Mushroom, I developed a real-time environment using Unreal Engine 4.27. Within a timeframe of approximately two weeks, I undertook the complete process of modeling, texturing, lighting, and rendering the scene.

As a personal project for Happy Mushroom, I developed a real-time environment using Unreal Engine 4.27. Within a timeframe of approximately two weeks, I undertook the complete process of modeling, texturing, lighting, and rendering the scene.

In my capacity as the Lead Virtual Arts Department artist for The Mandalorian season 3, I spearheaded a collaborative effort with a highly skilled team to produce a set tailored for Virtual Production and the LED Volume. Working in tandem with esteemed cinematographer Dave Klein, I assumed direct responsibility for conceiving and executing a comprehensive range of lighting scenarios. This project was of critical importance to the show's success, and I am proud to have played a key role in its realization.

In my capacity as the Lead Virtual Arts Department artist for The Mandalorian season 3, I spearheaded a collaborative effort with a highly skilled team to produce a set tailored for Virtual Production and the LED Volume. Working in tandem with esteemed cinematographer Dave Klein, I assumed direct responsibility for conceiving and executing a comprehensive range of lighting scenarios. This project was of critical importance to the show's success, and I am proud to have played a key role in its realization.

As Lead Virtual Arts Department artist for the Book of Boba Fett I worked in collaboration with a team to create this set. This environment was created for use on the LED Volume. I directly worked with cinematographer Dave Klein to create all the lighting scenarios.

As Lead Virtual Arts Department artist for the Book of Boba Fett I worked in collaboration with a team to create this set. This environment was created for use on the LED Volume. I directly worked with cinematographer Dave Klein to create all the lighting scenarios.

As Lead Virtual Arts Department artist for the Book of Boba Fett I worked in collaboration with a team to create this set. This environment was created for use on the LED Volume. I directly worked with cinematographer Dave Klein to create all the lighting scenarios.

As Lead Virtual Arts Department artist for the Book of Boba Fett I worked in collaboration with a team to create this set. This environment was created for use on the LED Volume. I directly worked with cinematographer Dave Klein to create all the lighting scenarios.

As Lead Virtual Arts Department artist for the Book of Boba Fett I worked in collaboration with a team to create this set. This environment was created for use on the LED Volume. I directly worked with cinematographer Dave Klein to create all the lighting scenarios.

As lead artist for the Mandalorian I worked in collaboration with a sculptor to block in this set. I helped create the majority of the assets, layout and lighting for this ice cave environment.

As lead artist for the Mandalorian I worked in collaboration with a sculptor to block in this set. I helped create the majority of the assets, layout and lighting for this dry creek bed environment.

As lead artist for the Mandalorian I worked in collaboration with a sculptor to block in this set. I helped create the majority of the assets, layout and lighting for this ice cave environment.

As lead artist for the Mandalorian I helped create assets, layout and lighting for this stone shrine environment.

The landscape was created using Gaea. Textured, lit and real-time in Unreal

As lead artist for the Mandalorian I worked in collaboration with a sculptor to block in this set. I helped create the majority of the assets, layout and lighting for this final chamber environment.

As lead artist for the Mandalorian I helped create assets, layout and lighting for this magistrate courtyard environment.

While working as lead artist for the Mandalorian I helped create assets, layout and lighting for this junkyard environment.

While working at Imaginary Forces on STARS "Black Sails" , I textured, lit and LookDev multiple key shots for the intro of the show. I also got the chance to work with some talented artist such as Meats Meier and Joseph Langmuir. All textures were created using The Foundry's Mari and rendered with VRay.

While working at Digital Domain on Joseph Kosinski's Oblivion, I textured the Sleep Pod. It was used in multiple shots for the movie. I created all the textures and variations that go with the different pods for each scene. All textures were created using The Foundry's Mari and Adobe Photoshop.

Working as a texture artist on Oblivion I textured all the dirt, grim, sand and various other needed textures for all the drones. The base textures for the main drone were created by lead George Krauter. Textures were created using the Foundry's Mari.

One of the longer and more strenuous shots we worked on in Oblivion was the shipyard. Working with Donna Tracy, George Krauter and Jamie bower to create rusty textures for the massive various ships. All the screen grabs have at least one of my ships in it. Some of the shots had a matte painter go over it to add details.All textures created in the Foundry's Mari.

I created the textures for all the small panel work on the Skeledrone for  Oblivion. It was used in multiple shots for the movie. All the rest of the base textures were created by Lead George Krauter. All textures I worked on for this specific drone were created using Adobe Photoshop.

This bridge went through a lot of last minute changes in the film. I textured all the cables, poles, wires, clamps and connecting pieces. George Krauter worked on the tower of the bridge. Textures were created using the Foundry's Mari.

I worked on all the textures for the scavsled and the drone on the sled. Its part of a really cool completely cg  panning shot following one of the drones. The destroyed resource gatherer has some of my smoke debris damage on it as well. The base textures for the resource gatherer were created originally by George Krauter and gone over with a matte painter. Textures by the Foundry's Mari.

As a member of a small elite VAD team for the feature film "Fathead," I contributed significantly to the lighting of a real-time scene on the LED stage.

I worked for Digital Domain's Commercial Company that produced an award winning advertising campaign for "Lady Gaga Fame," fragrance line directed by Steven Klein. I worked as a generalist, modeler, texture artist on the gold lady gaga statue used in the commercial. Model created in Autodesk Maya and textures in Autodesk Mudbox.

HP notebook rendered and lit using Vray. I setup up the camera angle and rigged the notebook using Maya.

HP mouse rendered and lit using Vray. I setup up the camera angles in Autodesk Maya.

HP notebooks rendered and lit using Vray. I setup up the camera angles and rigged the notebooks using Maya.

HP tower textured, rendered and lit using Vray Maya.

HP convertible laptop rendered and lit using Vray. I setup up the camera angles and rigged the notebooks using Maya.

HP notebooks rendered and lit using Vray. I setup up the camera angles and rigged the notebooks using Maya.