My first collaboration with Paul Groom was on his short film ‘Flavoured’ as a colourist:
My role was to chroma the newscasters and insert formal, animated background. I was not involved in the graphic design.
An animated break-down of the above may be seen at 01:12 on the 2012 Goat’s Eye View showreel. Here is the final video:
Collection of projects I’ve done VFX, chroma, painting and compositing for:
For samples of my title and motion graphic work, please click here.
I was commissioned by Channel 33 to provide the chroma and compositing work for CIWF (Compassion In World Farming) and their campaign against battery chicken farming.
This project was a challenge for me as we had limited green screen space and 15 volunteers who needed to appear as an ‘endless row of battery cages’.
The assembly process for the composition can be seen at 00:07 in the 2012 VFX showreel video.
Immediately upon graduating SAE Institute London’s film department I was asked to join the supervisor team where I became responsible for equipment maintenance and bookings.
I have since been promoted to lecturer and am currently one of the senior supervisors. I specialise in post production: editing, colour-grading, VFX (After Effects) and motion graphics. It’s brilliant being able to do something you love for a living!
My first attempt at shooting a flash mob while a student at SAE Institute London. Fellow student (and mother of one of the percussionists) Susan Cormack was producing the video and asked me to be director and cam operator. I then edited and colour graded the final result.
As with all learning experiences, many things went wrong – some of the footage was over-exposed, about 2-3 of the camera ops were not prepared when the flash mob began, and I found there was not enough footage in sync for the final edit (this is always an issue with flash mob videos, I’ve noticed).
We shot the band at two locations over two days in Brentwood. They were absolutely fantastic kids!
As a student, I was approached by the head of the film-making course to have a go at directing Lyndsey Ollard, whose album (‘One Night Stand’) was produced by Tom Misner. We were short on time and resources (and being students did not help), but I think we did a decent job and learnt a lot in the process. One of the biggest lessons was – always ask the client to give you a realistic deadline.
I was still getting used to compositing and colouring, so it was like learning how to swim in the deep end.
Submission for third semester at SAE Institute London. We were given a limited number of products/services to choose from, and I decided to go for what I considered to be the most challenging one in an effort to stimulate my creativity and selling ability.
It was during this project that I fell in love with After Effects and realised I wanted to devote my professional career to post production and VFX.