VFX that belongs
in the shot.

A convincing effect has to agree with everything already in the shot. Perspective, contact shadows, reflections, focus and motion blur all affect whether a CG element feels present. I approach VFX as part of the photographed image, with equal attention to the effect and the details around it.

I work on commercials, branded videos and mixed live-action and CG sequences. The scope can range from removing a distraction or replacing a screen to creating, lighting and integrating a 3D object. Some shots need a visible transformation; others should look as though nothing was changed.

My background combines 3D production with compositing. That lets me adjust the geometry, lighting or render when a problem begins in the 3D scene, then carry the result through integration and finishing.

I begin by looking at the supplied footage: camera movement, lens characteristics, available tracking detail, lighting changes and anything that crosses in front of the effect. This establishes what the shot needs and where the difficult parts are likely to be.

Tracking and shot preparation create the foundation. CG elements are then matched to the camera and lighting, with compositing used to bring edges, colour, atmosphere, grain and motion into the same image. The shot needs to hold together in motion as well as in a still frame.

If the shoot has not happened yet, early discussion can help identify useful camera information, lighting references and clean plates. What is worth capturing depends on the effect and the location.

For footage that already exists, send the original plate where possible, the intended edit, references for the result and the delivery requirements. I can then assess the approach and agree which parts of the shot I will handle, including any 3D assets or render passes needed from the wider team.