Portfolio
Film Projects
Credited projects page under construction thanks for your patience
The Wheel of Time season 3
The Wheel Of Time is a series I have enjoyed watching so having the ability to work on as as senior lighting artist (One Of Us) was a lot of fun. I worked on a variety of sequences culminating in a massive fluid simulation. This is a project I am waiting with baited breath to watch for myself!
Dog Man
Dogman was the first animated project I have worked on, functioning as a Lead lighting and comp Artist (JellyFish). This was one of the most rewarding projects of my life, revitalising my enthusiasm for animation and enhancing my ability to lead a team on challenging projects. It was also the first project I had used USD/Karma on and was fascinating to learn as well as develop my skills with this software.
Damsel
Damsel was my first project as a Lead Lighter (One Of Us). I used my skills and knowledge to lead a small team of artists on hundreds of shots while helping to develop new internal pipelines and tools designed to create a streamlined workflow that would allow for rapid shot output and automated slap comping.
Napoleon
Napoleon was another project that I worked on, mainly on layout, Lookdev and Lighting (One Of Us). My responsibility was to implement FX, crowd and set extensions on the execution sequence, using created in house assets and props.
The School Of Good And Evil
On the School of Good and Evil I worked as a CG Generalist (One Of Us) dealing with a fight sequence involving knifes and a cliff. I was asked to do set extensions using in-house assets and Lookdev to very tight deadlines. Thanks to this project I became a better artist and learned to manage my time more efficiently.
The Man Who Fell To Earth
For The Man Who Fell To Earth, I worked as a senior CG Generalist (One Of Us), responsible for early FX, lighting and Lookdev for the opening arrival sequence along with shots of the hotel, water hose and gold rigs sequences.
Bridgerton Season 2
I had the pleasure of working on Bridgerton season 2 as a CG Generalist (One Of Us). I worked on the race sequence, creating assets and textures for the tents and food stands, along with lighting the crowd and assets.
Locke And Key Season 2
In Locke and Key Seasons 2 and 3 I worked as a Lighting TD / CG Generalist (One Of Us). The work involved creating the shadow monsters for multiple sequences, using animated assets and the creating realistic lighting.
The Witcher Season 2
I really enjoyed working on The Witcher, Season 2 as a CG Generalist (One Of Us), dealing with the layout , crowd and lighting of the city of Cintra. A new task that was quite early in my career.
His Dark Materials
This was my second project as a Lighter. It was a passion for me as I am a real fan of Philip Pullman and of the trilogy. So, when the opportunity came up to work on the TV series I had to be a part of it. It was an amazing chance to develop my skills as a Lighter, in particular working with creatures and fur in a variety of lighting conditions. I was given some difficult shots to work on, including this one (see left) on which I had to construct the geometry for the window, light it without any reference, and create reflections in the window panes. I was therefore delighted to see it used as the image for the re-released book cover!
Avengers Endgame
​I am particularly proud of the work I did on this project. I was brought in to do urgent bidding work, specifically on facial solving. I was given a piece of footage from online, which I had to apply facial solving software to within a 24 hour period. This then enabled me to use computer learning to apply the same facial-solving techniques, with greater detail, to another shot, which I produced over the following 3 days. The clients were impressed with my work and awarded us the bid. I worked on this project in three roles, (a) as a lighter; (b) as the only facial solving artist; and (c) as the sole ATD, which included building the pipeline for the facial solving.
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Detective Pikachu
This project was important for me because it was the first opportunity for me to take control of the facial capture process; giving instruction on the position of facial markers and even doing it myself. This (see left and below). These are examples of where I learnt to solve the face correctly by studying micro-expressions of the actor and trying to map these across to Pikachu's face. It was also an excellent project for me build relationships with key departments that informed my ideas and the processes that I later developed.
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Paddington
Paddington was a project that I joined as an ATD and on which I worked with as part of a team to resolve issues with conform and staging. I had my first experience covering as a CG Sup. This experience was really insightful. To be able to oversee and direct all aspects of a project's development really made me appriciate the work that went into creating a film. It also reinforced my career goals and desire to, ultimately, be a CG Sup.
Guardians Of The Galaxy
My work on this project was predominantly as an ATD. I have added these shots as examples of the staging, conforming and instancing which I performed to help fix technical issues during projects often operating as tech anim. For example, (see left) I was responsible for adding correct motion capture assets and correctly positioning them in the hallways so that they were accurately timed with the FX.
Mogli / Jungle Book
This was a 3-year long project on which I worked in 5 different positions: staging artist; facial-solving artist; FX artist; pipeline TD; and ATD.
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During this time, I acquired many different skills and saw the development of a film from multiple different perspectives. It helped me to develop key relationships between departments which enabled me to better identify issues when they arose and how best to resolve them using the expertise within the company.
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Doctor Strange
​This was my first project as an ATD. It was full of of very difficult and complex effects; these are some examples of the work that I helped with.
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I created the spirit echoes that were used in comp. I scripted a tool for animation to simulate real-world dynamics in the cape. I also duplicated geometry to create the Mandelbrot (kaleidoscopic) effect.
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