Background match moved and replaced using keys and roto. Smoke and haze for continuity. Matte painting was provided.
3D camera tracked in Nuke. Keys and roto used to bring back foreground. Snow for continuity. Matte painting was provided.
Green screen background replaced using various keyers and roto. BG plate was provided.
Green screen behind window replaced. Various keyers and roto used. Background element provided.
Horizon line altered to add buildings and replace sky. Graffiti and smoke added. Camera track in Nuke. Photoshop used for matte paintings. Photographed plate and all elements.
Added foreground and background elements. 3D camera track in Nuke. Trash can geometry, textures and lighting in Nuke's 3D workspace.
Added muzzle flashes, blood splatter and gunshot wounds. Some elements provided, some procedurally created.
Added blood stains to faces and clothing. Combination of 3D, 2D trackers and smart vectors used. Some elements procedural.
Falling snow added for continuity. Created using Nuke's particle system.
Added boats and cleaned up background.
Actor plate merged with green screen bear plate. Snow cleaned up.
Skin effect animated on multiple 3D cards in Nuke. Some elements provided, some procedural.
Water ripples using IDistort. Created reflection elements.
Night-vision sniper scope.
Holographic interface set up in 3D in Nuke. Added animations to elements and matched action to plate. 2D still graphics were provided.
All visible monitor screens replaced. 3D camera and 2D trackers used in Nuke. Depth of field replicated where necessary. Roto and keys used on the foreground. Elements provided.
Modelled clay pigeon asset. Rigid body shatter and smoke sims in Blender, rendered using Cycles. 3D camera track and integration in Nuke.
Camera and object track in Blender. Glass and door collision geometry modelled in Blender. Rigid body sim and particles for shatter effect. Rendered using Cycles, integrated in Nuke.
Assembled various geometry and meshes in Maya. Textures, shaders and lighting in Maya. Rendered using V-Ray with multiple render passes for lighting and utility. Depth of field and lens effects in Nuke. Object ID and UV passes used to swap and relight textures.
• basic comp: roto, keying, tracking, color correction, element integration
• advanced comp: camera tracking, 3D projections, smart vectors, procedural elements and textures, expressions,
• strong knowledge of cinematography including lighting, cameras and lenses, as well as compression formats and
• modeling, lighting, rendering
in Blender and Cycles
• basic rigid body, soft body, fluid, particle and smoke simulations in Blender
• basic modeling, lighting, rendering in Maya and V-Ray
• color grading and conforming in Davinci Resolve
• cleanup, set extention and matte painting in Photoshop
• python knowledge to automate tasks, create tools and UI elements
Radio and Television, Bachelor of Arts - Ryerson - 2011
Visual Effects for Film and Television, Diploma- Seneca - 2015
Nominated for Outstanding Visual Effects in a Supporting Role
2017 Primetime Emmy Awards - The Handmaid's Tale (Birth Day)
please visit imdb.com
My interest in creating images began with still photography. From film to digital, studio to location, it was a challenge to capture the world inside a frame. Editing and stitching images together came naturally as a way to push beyond what is possible in the real world, much like visual effects. While my core skillset is compositing, throughout various projects I've tried to slowly work outside my comfort zone. Along the way I've explored modeling, lighting and rendering as well as more technical aspects of visual effects such as gizmo creation and animating tasks through python. Regardless of what I'm working on, I believe planning, communication as well as strict quality control are key aspects of making a project successful and ultimately enjoyable. When not working on images I enjoy cycling, music and motorsport.