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LIGHTS for Imaginary Labs’ Carbon
Project Gallery
Rear angle showing venting, back‑panel geometry, and structural details.
Front and side view wireframes
Angled view capturing the DaVinci’s venting, lens depth, and overall form.
Front view focusing on the DaVinci’s optical assembly and faceplate geometry.
Front and rear three-quarter view wireframes.
Front view highlighting the multi‑lens wash array.
A dynamic angled render showing the Rogue R3X Wash’s rear venting.
Wireframe view revealing the underlying mesh and topology flow.
Project Overview
This project showcases my work in 3D asset creation, technical art, and production workflows.
Since October 2020, I’ve been working as the 3D Modeler and 3D Artist for Imaginary Labs, a software company focused on making live event production easier, more accessible, and dramatically more cost‑effective. Imaginary Labs develops Carbon, a live event simulator and visualizer built on Unreal Engine. Carbon is designed to solve a major problem in the entertainment industry: the enormous cost and logistical complexity of programming lighting for concerts, festivals, theatrical productions, and large‑scale events.
Before Carbon existed, lighting designers had to rent a physical venue or rehearsal space, bring in truss, motors, cabling, staging, and dozens of lighting fixtures, and then hire a crew to assemble and disassemble everything — all just to begin programming cues. It’s a process that can cost tens of thousands of dollars before a single moment of the show is actually designed. Carbon changes that completely. With Carbon, designers can pre‑visualize entire shows inside a real‑time simulation, using accurate digital fixtures and realistic beam behavior, for the cost of a software license. It’s a transformative tool for the industry, and my work plays a direct role in making that simulation believable and reliable.
My job at Imaginary Labs is to create digital twins of concert‑grade lighting fixtures. One of the things that sets Carbon apart from other visualizers is the accuracy of our fixture models. When a user loads a fixture inside Carbon, they expect it to behave exactly like the real thing — visually, mechanically, and dimensionally. That means the 3D model must be precise down to the millimeter. My goal is to recreate each fixture’s physical dimensions, proportions, and moving components so that a Carbon user can be confident that the fixture they’re using in the simulation will look and work exactly as it needs to in the real world.
Over the years, I’ve created several hundred high‑accuracy lighting fixtures for Carbon’s asset library. These include industry‑standard units such as the High End Technospot, the Elation Artiste DaVinci, and the Chauvet Rogue R3X Wash, along with many others used in concert touring, theatrical lighting, broadcast, and large‑scale event production. Each model begins with manufacturer spec sheets, CAD drawings, and reference photography. From there, I build the geometry in Maya, ensuring clean, production‑ready topology that supports both real‑time performance and mechanical animation. Once the model is complete, I texture and render it in Substance Painter, using PBR workflows to match the materials of the real fixture — from powder‑coated housings to glass lenses and metal brackets.
Accuracy isn’t just a goal; it’s a requirement. Carbon’s simulation depends on precise fixture dimensions so that truss spacing, rigging layouts, and beam paths behave correctly. If a fixture is even slightly off, it can affect how designers plan their shows. That’s why I take the time to measure, verify, and refine every detail. The result is a library of digital fixtures that lighting designers trust, because they know the virtual version will match the physical unit they’ll use on site.
Working at Imaginary Labs has allowed me to contribute to a platform that is reshaping how live events are designed. My work supports lighting designers, programmers, and production teams by giving them tools that save time, reduce cost, and expand creative possibilities. Every fixture I build helps Carbon users design smarter, faster, and more confidently — and I’m proud to be part of the team making that possible.
Before Carbon existed, lighting designers had to rent a physical venue or rehearsal space, bring in truss, motors, cabling, staging, and dozens of lighting fixtures, and then hire a crew to assemble and disassemble everything — all just to begin programming cues. It’s a process that can cost tens of thousands of dollars before a single moment of the show is actually designed. Carbon changes that completely. With Carbon, designers can pre‑visualize entire shows inside a real‑time simulation, using accurate digital fixtures and realistic beam behavior, for the cost of a software license. It’s a transformative tool for the industry, and my work plays a direct role in making that simulation believable and reliable.
My job at Imaginary Labs is to create digital twins of concert‑grade lighting fixtures. One of the things that sets Carbon apart from other visualizers is the accuracy of our fixture models. When a user loads a fixture inside Carbon, they expect it to behave exactly like the real thing — visually, mechanically, and dimensionally. That means the 3D model must be precise down to the millimeter. My goal is to recreate each fixture’s physical dimensions, proportions, and moving components so that a Carbon user can be confident that the fixture they’re using in the simulation will look and work exactly as it needs to in the real world.
Over the years, I’ve created several hundred high‑accuracy lighting fixtures for Carbon’s asset library. These include industry‑standard units such as the High End Technospot, the Elation Artiste DaVinci, and the Chauvet Rogue R3X Wash, along with many others used in concert touring, theatrical lighting, broadcast, and large‑scale event production. Each model begins with manufacturer spec sheets, CAD drawings, and reference photography. From there, I build the geometry in Maya, ensuring clean, production‑ready topology that supports both real‑time performance and mechanical animation. Once the model is complete, I texture and render it in Substance Painter, using PBR workflows to match the materials of the real fixture — from powder‑coated housings to glass lenses and metal brackets.
Accuracy isn’t just a goal; it’s a requirement. Carbon’s simulation depends on precise fixture dimensions so that truss spacing, rigging layouts, and beam paths behave correctly. If a fixture is even slightly off, it can affect how designers plan their shows. That’s why I take the time to measure, verify, and refine every detail. The result is a library of digital fixtures that lighting designers trust, because they know the virtual version will match the physical unit they’ll use on site.
Working at Imaginary Labs has allowed me to contribute to a platform that is reshaping how live events are designed. My work supports lighting designers, programmers, and production teams by giving them tools that save time, reduce cost, and expand creative possibilities. Every fixture I build helps Carbon users design smarter, faster, and more confidently — and I’m proud to be part of the team making that possible.