Hedgehog uses a charming mixture of miniature sets, CG characters, and hand-drawn expressions. As a junior compositor on this project, I followed the lead’s templates and added my own flair to bring these together to create final coherent images.
Facing it (2018)
As a junior compositor on this stop motion animation project, I did contributed prep work and flicker reduction.
Blood Type (2018)
As a junior compositor on Blood Type, I assisted the lead, Oliver Buus, with roto and prep work. I also had the opportunity to visit the stage and observe both the train miniatures shoot and the use of the snow machine!
Dead Birds (2018)
As a junior compositor on Dead Birds, I assisted the lead, Baitong Monseu, with prep and executing templates.
Good News (2018)
Shooting in very rural environments can have its challenges. As a junior compositor on this project, my main role was removing overly distracting flies.
In My Own Skin (2019)
Emotional interviews and dark environments made this documentary project a very interesting one to tackle as the colourist. The strength of the women featured, and the passion of the other filmmakers involved made the experience extremely rewarding.
Among the Eucalyptus (2019)
Working as the colourist and online editor, I got together with natural history director and zoologist Zoe Cousins to deliver this short about the threats currently facing eucalyptus trees in Australia, and the animals that depend on them.
Hot Trash (2019)
At the NFTS, as colourist and online editor, I collaborated with Directing and Producing Television MA students Amos Rock-Davidson and Jenny Kuznetsova on their pilot episode of Hot Trash.
Laowai (2018)
As a digital compositor on this project, I used my clean up skills to remove some SFX equipment to create a seamless final image without distracting elements.
The Deep Sleep (2019)
As the colourist and onilne editor, I worked closely with the director to create a look which matches the emotion of the story and deliver a DCP for cinema viewing.
The Wake (2018)
I followed through many steps of post production for this short, which takes place in a small sail boat at sea. As a compositor, I removed signs of any land in the distance. As the colorist, I worked with the director and cinematographer to both maintain continuity and enhance the images through evocative tweaks in hue. Finally, I worked as the online editor to output the necessary formats, including DCP, and check tech specs.
As someone who has spent a large portion of my own childhood on boats, it was such a pleasure exploring the warmpth of the cabin and cold of the sea air.
Wildcats: Breeding to Extinction (2018)
Science and Natural History director Zoe Cousins shot and edited this beautiful and sobering piece about the efforts to protect the Scottish wildcats. I worked with her as a color grader to make the final piece sing! This film and another short we collaborated on, Rats With Wings, were selected for the 2018 Wildlife Film Festival Rotterdam, the largest nature festival in the Netherlands.
You can see more of what Zoe has been up to since HERE.
Rats With Wings (2018)
Science and Natural History director Zoe Cousins shot and edited this very informative piece about the unappreciated beauty of street pidgeons. I worked with her as a color grader to make the final piece pop! This film and another short we collaborated on, Wild Cats, were selected for the 2018 Wildlife Film Festival Rotterdam, the largest nature festival in the Netherlands.
You can see more of what Zoe has been up to since HERE.
The Grandfather Machine (2018)
I had the pleasure of collaborating with two games students from NFTS on their game “The Grandfather Machine.” I took the footage of your holographic guide, shot on greenscreen, and keyed it out. Then I added a glitch affect at the specified times and created a lines look. It was a great learning experience for the versitility of sprites and resolution constraints for game data.
You can view a playthrough of the game HERE
Or you can download the game and try it for yourself HERE
Protector (2017)
As one of the principle compositors on this project, I worked closely with the director to realize their vision of an enhanced action scene. My work included cleanup of modern object and safety wires, as well as spark and blood additions.
“Why Come to Odeon” Advert (2017)
During my time at the NFTS, a group of students from across disciplines got together to enter this commercial into a contest being held by Odean Cinemas. As one of the VFX artists involved, my main task was making custom textures for the robot character which were in line with Odeon branding guideilnes. I also enjoyed playing around with glass look development to make our robot friend’s eyes appear magnified.