I worked primarily on the sequence with Bloodsport and Peacemaker in the crumbling tower. I added set extensions and falling debris.
Role: Compositor
The Crown: Season 4 (2020)
The Crown was the first project that I worked on remotely during the COVID-19 lockdown. Despite not being together in person, we worked together as a team to deliver so many quality shots! I contributed roto, clean up, and compositing work across many episodes. Much of my work involved set extension.
As one of the few American artists on our team, I did my best to get up to date with all the historical gossip and enjoyed watching the final product to see how things fit together!
No Time To Die (2021)
I worked on the opening title sequence for this film in early 2020, just before lockdown. The main shots that I contributed to depicted CG flowers growing within human bodies. We blended the simulated flowers in to give the bodies a see-through look, and it contrasts against the bright red background.
Role: Compositor
Sky Italia: Sky Wifi (2020)
“With COVID-19-related travel restrictions in place, Sky Italia turned to Framestore to bring Italy to Jude Law, the international actor who stars in Sky Wifi’s advertising campaign.”
As a compositor for this commercial, I worked to integrate Jude Law (shot on grey screen) into the location plates. I also worked on some of the tunnel shots, extending the set.
GHOSTEMANE - AI (2020)
Working closely with Studio Linguini and Venturia Animation, I composited the 2d rubber-hose style animation into the miniature set. I also provided some rig-removal. Allowing the characters to interact and engage in the freaky invasion of the room was certainly a highlight.
Rejjie Snow - Cookie Chips (2020)
As the sole vfx artist on this project, my responsibilities included pre-production consultations and post-production compositing work. It was intriguing making a 2d image float away with balloons - and fit into film footage.
Celebrity Cruises: Wonder Awaits (2019)
As a 2d artist on this project, I contributed a variety of work. I made some mock-ups for stylistic decisions, I executed clean-up tasks, and did my fair share of compositing. I particularly enjoyed compositing the shrinking Alice.
McDonald's UK : Breakfast (2019)
As a prep artist on this commercial, I provided roto work for many of its shots. I got a particular kick out of working on the one at Marlybone Station, because I used to commute from that exact platform every day as I went to NFTS… to study how to rotoscope!
Ford Escape (2019)
As a 2d artist on these commercials I provided a variety of work, from roto and cleanup, to compositing. We made a city shrink and showed the Escape was up for any challenge!
A Christmas Carol (2019)
As one of the earliest compositors to join this show, I had the opportunity to contribute a lot of my ideas. Working closely with the vfx supervisor and lead, I helped develop the look of key scenes, such as the large bonfire, Scrooge as a ghost, and the ice in the ceiling. Later I executed many shots, helped other artists match to these determined looks, and made template scripts to send to other studios.
Morning Song (2020)
“A short film concerning a troubled mother coming to terms with the loss of a baby.”
My role as compositor on this project was to provide subtle effects to support the set environment.
Morning Song is now available on All4, click the link below to check it out!
Photo by Adam Mathieu (unrelated)
Jurassic World: The Ride
This was my first compositing job at Framestore. Joining the team late in the game, I helped push shots over the finish line for the deadline. It was a great learning experience! Framestore went on to provide even more content for the park, which I hope to visit and see some day.
Sundress - A$AP Rocky (2018)
The style of this music video was an interesting challenge from when I was consulting during the shoot remotely, and to when I was compositing afterwards. While a lot of the effects in this video were done by hand and in camera, it was fun adding some digital touches as well.
This video went on to win Best Urban Music Wideo at the UKMVA and a Vimeo staff pick award!
Azaar (2019)
“A tribe of women await their men’s return from war. Azaar, one of the last young girls in the village is intertwined between her mother, grandmother and the rest of the tribe, as she comes to learn the true cost of womanhood.”
As a compositor on this project, my artistic responsibilities were not very numerous, and instead I was involved in many discussions about pipeline. Could grain be added affectively afterwards or should it be shot on film? How should we deal with the colorspace management of the few VFX shots that there were? With such an evocative story, it was great to watch it come through smoothly.
Nominated Best British Short Film - BAFTA (2020)
Nominated Best British Short - London Short Film Festival (2020)
Shortlisted - BAFTA Student Awards (2019)
The Pregnant Ground (2019)
“After a traumatic stillbirth, a woman starts to believe the ground below her apartment becomes pregnant.”
As lead compositor on this project, I strategized with director Haolu Wang to decide how best to represent her emotionally evocative fantasy elements. My responsibilities included on-set supervision, set extension, CG compositng, clean up, and quality check for delivery to grade.
Some highlights for me included attending an underwater shoot, supervising the set-up and capture of a large outdoor greenscreen set, and offering to be an extra in a pool scene on one of the hottest days of the year (extra points of you can spot me!)
November 1st (2019)
“Traveling to witness the execution of her son’s murderer, a mother is torn between retaliation and reconnecting with her estranged daughter.”
As the lead compositor on this project, my main tasks were screen replacements and merging CG damage onto an unscathed car.
November 1st was a 2019 Student Academy Award Winner! Congrats team!
Almost There (2019)
“On an everyday train journey quite unlike any other, a not-so-casual observer goes to extreme lengths to avoid other passengers, a giant baby runs away from his parents, a romantic woman starts an ill-fated relationship with a cuckoo, and a naïve boy discovers that some problems can’t be fixed by pictures of unicorns.”
As lead compositor on a film taking place in a moving train largely without in-camera exteriors, I knew there was going to be plenty of work ahead. The passion and teamwork behind this project assured that it could only be made into the wonder that it is!
I met regularly with the director, production designer, and cinematographer in order to strategize about the best way to approach this stop-motion and 2d blend. We developed the exterior images and light interaction level together. Getting to know the different sections of the train, and all the unique characters made compositing for this project so fun.
A Bird With No Legs (2019)
“Theo plays his saxophone to lead his broken father, James, inside a magical song. Theo’s goal - to help James overcome his grief.”
For this stop-motion animation, my primary role as compositor was consulting. I frequented the set to strategize with the director, Nick Cinelli, about what was possible to tackle in post, and what needed to be done in camera. I also did the compositing for a few shots.
Digital Verbunden (2020)
For this experimental sci-fi film, I worked with the compositing lead Oliver Buus to deliver clean up and compositing of the greenscreen digital grid environment.
Good Samaritans (2018)
“Romania, 1784. Young Elena finds herself stranded alone in a dark, secluded wood. When she is approached by two thieves, Elena’s true guise comes to light.”
If you’re a DFX student at the NFTS, you know one of the biggest projects you’ll work on during your time there is Gorefest - a horror project that takes place once a year and combines SFX, special effects make up, and every digital technique you’ve learned so far during the course. Looking at this daunting task, Ashleigh Ramirez and I decided to team up as co-producers to handle all things organization.
Starting in pre-production, we met with the director to discuss his ambitions, production design students to determine the set extension needs, and talent such as actors, and costumes. We attended the shoot, made sure everyone had their needs met, and that we captured all the necessary material.
For the VFX work, we divided the work democratically based on the timeline and interests of each of our peers. I myself got to work on compositing some big set extensions and eye effects. One among us who specialises in grading created a working LUT, and then graded complete edit. Then we rendezvoused with the editor, sound design, and composing students to create a final film. Finally, we organized a viewing in the school cinema with a DCP and invited all those involved.