A family rob a bank in order to stop the closure of their grandfather’s care home only to be confronted by a 350-year-old vault full of hungry zombies. A Comedy Horror film with a lot of Visual Effects such as Muzzle Flashes, Rat populations, Bullet hits and a lot, a lot of blood!
With a vast amount of green screen to oversized sets, the actors often had little more to work with than basic markings. Just a hoop on the floor denoted the glass specimen jar in which Mildeye traps Pod and Homily. A film with small people ...and plenty of tracking markers on variable Green Screens!
This single BBC drama explores the explosive love affair between photographer David Bailey and Sixties Supermodel Jean Shrimpton revealing how a young, visionary photographer refused to conform and accidentally changed the world forever. An ambitious project with estimated delivery of 15 shots without any green screen, lighting or grip equipment and compositions of painted patches, tracking and element photography.
It is Christmas Eve and everyone is getting ready for the big day; everyone that is, except for Anthony, a strange, enigmatic being who wakes up in the street, not knowing where he is or what he’s here to do. But Anthony has a remarkable ability: the power to find the lost. A handful of Visual Effects mainly considered for weather and environment effects, integration of particles, set extensions and painting backgrounds.
A fictionalised account of the last days of Edgar Allan Poe's life, in which the poet pursues a serial killer whose murders mirror those in the writer's stories. A period thriller with added atmospherics, muzzle flashes and bullet hits.
The heroes struggle in a lake in a sequence that was shot in the safety of a tank on a green screen stage with added a Scottish landscape and lowering sky to the shots, with a great deal of complex keying and grading to create a convincing sense of dark murky water and flat exterior lighting. The Forbidden Forest sequence also featured some set replacement work to extend the forest deep into the background, which was accomplished with layered matte paintings. After trying many different looks, settled for a very subtle look, which softened the actors faces and added a gentle glow to them. Since the sequence was all shot in-camera rather than in separate green screen passes, the characters were made transparent by rotoing them off the plates, repainting the background behind them and them mixing them back in.
Pterosaurs and 3-D documentaries were made for each other, even though they're separated by 65 million years. 4K IMAX, BAFTA WINNER Various issues have been taken care of, polarisation and colour shifts have been fixed between the two eyes, as well as vertical alignment maps and disparity maps. The maps given designed to plugged into a STMap after normalised, in that the data was always between 0 and 1. The Earth was a result of multiple photographs and with basic CG passes. Colours balanced and elements added to camera projections on additional spheres for interocular distance, altitudes, and the scale of various elements to match.
A man awakens from a coma, only to discover that someone has taken on his identity and that no one, (not even his wife), believes him. Nature of content was to replace monitors and add new inserts while maintaining detail on foreground hair, blur levels and reflections. In some shots painted snow tracked to fulfil continuity.
Interwoven stories of people in India and US as they face dilemmas of life time in the months leading to the biggest Industrial disaster in human history that claimed 10,000 innocent lives within a few hours. Miniature Photography and set Supervision on a handful of shots, 3D Camera projections on various layers of painted elements, matte paintings with added mist/smoke elements on a 870frame shot!
A superficially handsome crime thriller that employed invisible Visual Effects such as inserts, smoke, fire, and blood.
The extraordinary story of three Rwandan kids who walk 3000 miles to the Soccer World Cup in South Africa. Excessive VFX work and I had the opportunity to lead and manage team of up to 8 people, communicate with clients and bid on shots hence meet any deadline with collaboration and communication for attention to detail.
A British historical drama film about King George VI, who, to overcome his stutter, is introduced to an unorthodox Australian speech therapist. The few Visual Effects shots developed, involved the creation of matte paintings with added lens distortion and tracking at the Cathedral interiors.
Set in England after the signing of the Magna Carta, Ironclad tells story of a determined group of Knights Templar who defend Rochester Castle from the siege of King John. Paul Giamatti as King John and Vladimir Kulich as the mercenary captain, Tiberious, try unsuccessfully to reason with the rebels holding the castle. The visual effects featured large scale historical battle recreations, miniature destruction sequences, army duplications, set extensions and extreme visceral violence with live action and green screen elements. The King's Camp was a major challenge. Almost all of the shots looking in these direction (and there are a lot of them) were constructed from still photos of the camp. Only a few tents were actually there, and only one trebuchet. The rest of the soldiers were shot on green screen and composited in. I had the opportunity to lead and manage team of up to 5 great artists and meet any deadline with extensive collaboration and communication, scheduling in advanced and anticipating what may come next!
Hitler and his gang of ruthless Nazi drones take over London and England, forcing Winston Churchill and a band of brave Kentish farmers to amass at Hadrian’s Wall to prevent an all-out Nazi invasion of the UK. Jackboots On Whitehall employs animated puppets, with sets and characters built to 1/6th scale shot with Viper camera. Tasks were to animate not only the puppets' mouths, which were less than a centimetre wide, but also their eyes, plus the development of unique expressions. Some were also given teeth to further enhance their on-screen personas. Other general VFX was clean-ups, set-extensions, green screen compositing, atmospheric effects and muzzle flashes.
Shoot elements select to design standalone shots following clients request and brief of the agency for the creation of theatrical release advert. Flying blue ribbons and paint enhance the identity of the drink.
“The Chronicles of Narnia: Prince Caspian” is the second of C.S. Lewis’s classic fantasy novels taken to the big screen in one of the biggest visual-effects films ever made. This 2008 sequel is driven by the struggle between the banished Narnians and their enemies The Telmarines that results in many fierce battle sequences. Visual Effects compositing included footage from programmed camera move around the kids on wires against blue screen. Although lot of work had to be done morphing the CG and leg replacements/extensions, clean ups and roto.
A prehistoric epic that follows a young mammoth hunter's journey through uncharted territory to secure the future of his tribe. In house support to the production with wire and 3D tracking removals, a blue screen composite, and a crowd replication of a single layer.
In a parallel universe, young Lyra journeys to the far North to save her best friend and other kidnapped children from terrible experiments by a mysterious organisation. In house Post Vis and Compositing provided for New Line cinema's first film based on author Philip Pullman's bestselling and award-winning novel, Northern LIghts
Plenty of invisible effects developed for a 3 part BBC Drama along a very high resolution Matte Painting. Various screen replacements and elements added to the enhance the final result.
Tomb Rider 2, The Water Giant, Around the world in 80 days, “Pride” , The Lion Queen,Captain Scarlet (CG) 12x26, Dungeons & Dragons: Wrath of the Dragon God, Those Scurvy Rascals (CG), Superstorm ( BBC Drama HD), ITV: David Gest Promo, Free Jimmy, (CG Feature), ITV CelebAir, I am Slave, The Mortician 3D.
A Visual Effects boutique catering to both the film and television industry with capacity to take on 2D, Digital Matte Painting and 3D Stereo projects in their entirety as well as portions of work. Overseeing everything from Concept Development, Pre-Production to Creative Production, On Set Photography / Supervision, through to Miniatures and Digital Effects.
