This project was an animated show based on the childrens book series Isadora Moon for Sky Kids. The variety of locations in the show meant a lot of interesting work from episode to episode, with some, like underwater or snow based locations, needing very different and complex compositing work done.

This project was the Mkhuzi: The Spirit Racer episode of the Kizazi Moto: Generation Fire anthology series for Disney+. It was an extremely exciting short to be involved with, with a style and speed that felt very fresh to work with. I was able to push the level of creativity and complexity of compositing effects and additions to the frenetic animation style and storytelling.

Worked as a compositor on the animated film Greyhound of a Girl, based on the Roddy Doyle novel. The production involved had drawn animation inside Toon Boom Harmony, which needed a distinct approach to compositing compared to rig based animation and involved working out solutions to complex interactions between the animation and very detailed backgrounds and props to create as seemless a look as possible.

For this role, I was part of a large remote team on the Netflix series Dead End: Paranormal Park. I worked building lighting and FX keys for sequences within episodes and other unique shots, working to the brief provided by the Art Director and communicating with the Compositing Leads to create as strong and dynamic a look and feel as possible. When these elements were ready I would combine the finished animation, backgrounds and FX work along with camera moves and shakes, depth blurs along… Show more For this role, I was part of a large remote team on the Netflix series Dead End: Paranormal Park. I worked building lighting and FX keys for sequences within episodes and other unique shots, working to the brief provided by the Art Director and communicating with the Compositing Leads to create as strong and dynamic a look and feel as possible. When these elements were ready I would combine the finished animation, backgrounds and FX work along with camera moves and shakes, depth blurs along with animated pool shadows and hand masked shadows to create the final scenes. Show less

In this role I worked on Danger Mouse, Transformers: Rescue Bots Academy and DC Super Hero Girls, building finished scenes from the animation and background elements provided to me. I also worked building lighting and FX keys for episodes, working with the art director. I took on a number of other responsibilities, including scene approvals, episode breakdowns, scene assignment and attending design and review meetings for episodes. When the Comp Lead was unavailable, I was in charge of managing… Show more In this role I worked on Danger Mouse, Transformers: Rescue Bots Academy and DC Super Hero Girls, building finished scenes from the animation and background elements provided to me. I also worked building lighting and FX keys for episodes, working with the art director. I took on a number of other responsibilities, including scene approvals, episode breakdowns, scene assignment and attending design and review meetings for episodes. When the Comp Lead was unavailable, I was in charge of managing the team, making sure they had work coming through and that the work was getting approved to move through the production. I also helped to train in a number of new hires to the company. Show less

I worked mostly remotely on an animated series, taking on added responsibilities as a Senior Compositor, attending meetings and QC onlines, assigning and reviewing work for the team, on top of regular compositing duties.

Compositing and Editing work on Aliens Love Underpants for for Sky.Motion Graphics and video editing for the Mr. Bean social media accounts.

I worked with the Asset Lead the creating and editing character, background and prop elements and assets for the Nick Jr. show The Day Henry Met. This involved a lot of work in Photoshop, matching the show approved lines, colours and textures, as well as editing or extending previously created assets. The job was about heavy attention to detail, and a sharp ability to work to the style guide. The series recently won an IFTA for Best Animation.

Creation of models for an animated pitch in Anime Studio Pro. I worked from the final designs to create fully rigged 2D character models, with 2.5D smart bone moves built in for smooth animation, before handing these models off to the animators for testing. I would then work out problems, or add extra features to the rig based on the feedback. This job was very focused and technical, involving a lot of very intricate corrections to the model and rig of the characters to make the freedom of… Show more Creation of models for an animated pitch in Anime Studio Pro. I worked from the final designs to create fully rigged 2D character models, with 2.5D smart bone moves built in for smooth animation, before handing these models off to the animators for testing. I would then work out problems, or add extra features to the rig based on the feedback. This job was very focused and technical, involving a lot of very intricate corrections to the model and rig of the characters to make the freedom of movement they offered the highest quality possible. Show less

I worked unwrapping UV maps and creating textures for characters, props, vehicles and backgrounds on the CBeebies tv series, Go Jetters. This was an intensive and collaborative job, working to tight deadlines and making sure the textures created were consistent across the team. During my time on this job I got a much better understanding of more complex and intricate shader and unwrapping techniques. The series is currently nominated for a BAFTA for Best Preschool Animation.

Compositor/Texture Artist on the short film, Geist (Best Short Film - ADIFF 2016, Best Animated Short Film – IFTAs 2016) Over the course of almost three years, I worked as part of the on and off production team for this short. I had roles working with UV unwrapping and texturing, and later as a compositor providing scene assembly, special effects, camera moves and colour correction.

With the project I was tasked with the creation of 3D models and textures for two characters to be used in a short 3D pitch project using Maya. I worked closely with the client and the rigger to create 3D models of the characters from the final designs. I was faced with the challenge of matching the unusual shape and colouring style of the 2D model sheets as closely as was possible in three dimensions, sometimes making tweaks to those after discussion with the client resulted in a better… Show more With the project I was tasked with the creation of 3D models and textures for two characters to be used in a short 3D pitch project using Maya. I worked closely with the client and the rigger to create 3D models of the characters from the final designs. I was faced with the challenge of matching the unusual shape and colouring style of the 2D model sheets as closely as was possible in three dimensions, sometimes making tweaks to those after discussion with the client resulted in a better design approach. Show less

I worked unwrapping UV maps and creating textures for characters, props, vehicles and backgrounds on the CBeebies tv series, Go Jetters. This was an intensive and collaborative job, working to tight deadlines and making sure the textures created were consistent across the team. During my time on this job I got a much better understanding of more complex and intricate shader and unwrapping techniques. The series is currently nominated for a BAFTA for Best Preschool Animation.

Compositor on Nick Jr/Netflix series Puffin Rock. I worked using Shotgun and After Effects, rendering and assembling animation and backgrounds for scenes. Once the basic scenes were constructed I added effects ranging from subtle additions with masking and small highlights to larger special effect pieces like elaborate flare and shine work, and also timed and added camera moves. The series was nominated for an IFTA and won two Kidscreen Awards.

Taking designs for characters and prop designs into Moho and creating models with varied levels of rig complexity, depending on their use and activity in the show Puffin Rock, for Cartoon Saloon. During the run of the show, I kept up to date with new additions and improvements to Moho to create more intricate rigs with head and body turns that appeared 3D in the 2D program, providing the animators with more flexibility. As the series progressed, with the main characters finished and a large… Show more Taking designs for characters and prop designs into Moho and creating models with varied levels of rig complexity, depending on their use and activity in the show Puffin Rock, for Cartoon Saloon. During the run of the show, I kept up to date with new additions and improvements to Moho to create more intricate rigs with head and body turns that appeared 3D in the 2D program, providing the animators with more flexibility. As the series progressed, with the main characters finished and a large section of secondary characters and elements built, I moved to a Compositing role and was responsible for training in my replacement in this role. I worked closely with the new team member, explaining vector creation, line weight, rigging, texturing in the program to prepare them for the role. Show less

I worked on this show as the sole compositor, with a three month turnaround on a ten episode series Bottler. I assembled scenes, created and integrated effects and assured that props, characters and backgrounds were set up properly and at the correct resolutions. I worked closely with the animators, background artists and directors to ensure that the production pipeline ran smoothly.

Compositor/Texture Artist on the short film, Geist (Best Short Film - ADIFF 2016, Best Animated Short Film – IFTAs 2016) Over the course of almost three years, I worked as part of the on and off production team for this short. I had roles working with UV unwrapping and texturing, and later as a compositor providing scene assembly, special effects, camera moves and colour correction.

In this position I worked in a number of capacities, depending on what was needed in the studio. I was tasked with setting up basic compositing files, editing the NatPauses of dialogue recordings for the animators to use for lipsynch, scanning and assembling animatics from storyboards, setting up render farm queues and organising files and filing structures for episodes on the server.Over the course of this job I moved into a full time compositing position, taking more responsibility… Show more In this position I worked in a number of capacities, depending on what was needed in the studio. I was tasked with setting up basic compositing files, editing the NatPauses of dialogue recordings for the animators to use for lipsynch, scanning and assembling animatics from storyboards, setting up render farm queues and organising files and filing structures for episodes on the server.Over the course of this job I moved into a full time compositing position, taking more responsibility for the completion of effects work, masking and other aspects of finished shots. Show less