Completed in 5 weeks, this was a great Ident to work on. The concept was pretty broad, so I was able to make up all of the mechanical elements up as I went. I completed the Previs, and also helped shape the edit. I did the layout, modelling, and animation on every shot and lastly I lit, textured, and shaded the vast majority of the ident. Everything was done in 3dsMax, Vray and Nuke.

Another fast turn around in only 4 weeks. The interior shots were completed with a Milo setup, and was quite challenging to put together.

This project was completed in record time, just over 3 weeks of production. I helped track two of the shots, and I also rigged and shading the car. I also took care of all the layout and animation in every shot, putting in subtle movements on the following cars. Lastly I helped light and render some of the shots for final compositing.

A brand film for Sony. I spent a few days early on in the project setting up a PFlow system for the board, and a bit of modelling and layout for other shots. All the lighting, shading and compositing was done by others.

Shot in Prague on a Phantom, this was an interesting project. What made it all the more confusing was it being in slow motion and reversed. I modeled and shaded the the set, then I was tasked with breaking apart the floor, a major element of each shot. I also animated and shattered all the props in the scene, from the candle to the lamps, these were all cached and used in the various shots. Lastly I helped light and render the main shots ready for comp.

This was a fairly simple commercial. Shot in South Africa, I spent most of the project developing the mind burst asset, having to carefully match to a print campaign. This was then rolled out in various forms to the tracked shots. These were then skillfully composited and graded in Nuke.

Second of the Hotels.com series. This time I had a larger role, taking on 4 shots from start to finish. I was involved in layout of the scenes, detailed modeling, lighting and rendering. There was also a bit of FX work with water and steam.

First in the series of Hotels.com commercials. This was a challenging project due to the art direction, which required a paintly feel to all the shots. So we spent a lot of time moving from 3d layout to paint overs, and back again. Finishing with a final light, and paint over projected back onto geometry. I was also responsible for the clouds and smoke effects.

A set of top and tail idents for the Original British Drama on the BBC. My job to make two 'living stills' by camera mapping onto proxy geometry.

A commercial for the TBox from Telstra. Here i rigged and animated the paper flower. Constructed using lots of bones, and rigged in a way that enabled the opening to be automated, and shape to be tweaked en-mass. I also completed the previs, and particle work.

Working across the world with Mighty Nice. I helped Nexus complete some of the fluid elements in the short spot. I specifically took care of the bucket wheel, the water slide, neon wheel, and the main loading bar. Using a combination of Realflow and Particle flow.

This commercial is one a large series of around ten. I was responsible for some model clean up, lighting, rendering, and comping all the shots in After Effects. Although fairly straight forward, it was tricky to keep the consistency of the characters from previous spots, as the environment and lighting was very different.

This was a very interesting project. Being at an early concept stage, I helped the team visualize the initial concepts for the interactive waterfall for Coke. Using Realflow, Particle Flow Box 3, and lots of render layers, we mapped out lots of different looks, and possible water interaction demos for the final pitch.

For this quick pitch I was responsible for animating the hummingbird. I'm not a natural animator, so it was a challenge. Think i'll stick to VFX!

For this commercial I was responsible for the phone replacements. Completed by object tracking, then lots of tweaking by hand to massage them into place, HDRI lighting, and plenty of render layers for comp. I also animated the book, a tricky interaction to make work in 3d space, especially the hand interaction. Also the bow/box, which used some visual trickery to work.

This commercial was very technically challenging. I was responsible for the field of flowers disappearing, I modeled, textured, and rigged a photorealisitic plant that was then used as a template for 2D projections and a particle system. To make the variation I used lots of shading techniques. There was also an opportunity to complete the cloth sim on the sky reveal, and the logo reveal.

For this commercial I help with layout and animation of the floating objects/interactions. I also animated the floating trainers, and the end product spin. Lastly I did a little material and light work on the sofa shot.

This project was a longtime in development. Designed as a movie for the Fat Duck Restuarant, I prevised, animated, modeled, light and comped two of the heavy CG shots. In the process I also modelled, rigged and textured characters, hero elements, and a realisitic moving tree. I also did lots of the fluid and smoke effects though out. This project was a true labour of love by the team involved.

Working closely with Creative Director Adam Rix, I created a series of images for the band James. The concept of a flowering entity was spread over 3 mini album covers and tour posters. All the elements were modeled and textured in 3D, then I set about creating all the details in Photoshop, which sped up the approval and creative process.

Based of some production work, I created this high res still for 3D World magazine. I also spent a few weeks putting together a complete rundown of how to make it from sratch. I didnt realise how much work goes into preparing tutorials, im not sure I would do another one!

A small character based animation for NYBagels, designed and Directed by The Kings Arms. I did some set modelling, character modelling, and rigging. I also shaded, lit and rendered the spot.

This piece was for the launch of the PS3. Used at various event around he world, encluding E3. It was designed as container to place new games. So there were linking animations, then an in/out for each game. I was heavily involved in the early look development. Then I was responsible for the particle simulation, and fluid/ explosion work. The particle system was designed as an asset that could be customised for each shot, and randomised for the linking elements. Particle work was done with Thinking Particles.