CONTACT
CONTACT
CONTACT
CONTACT
CONTACT
CONTACT
Industry Projects
Here you can find the various industry projects that I have contributed to. This page will be updated as and when new projects are released, with a showreel of my contributions to the project.
In the mean time, feel free to check out my IMBd site for limited information.
Havoc
2025 - Netflix
HAVOC was the very first project that I worked on in the industry. I came onto this project having never used the CRAFT plug-in for maya. As this was being used to simulate the car's performance across the sequence, my first task was to develop my understanding of the software, to ensure that I could help out across the sequence with simulating and animating the vehicles. Once I had developed my understanding, I started with helping senior animator, Ceylan Hassan, with developing the shots from the early previz to the more refined animation that was needed, while addressing any notes as and when they come in for each shot.
During this process, some of the camera data was being updated, so when needed, we were also adding in tracked cameras with data filmed from the director during previz, to ensure that he had the camera angles and framing he wanted.
Once the simulations were more refined, and the sequence was of better quality, we then started to add additional animation onto of the simulations. This was tricky at first, but adding in smaller movements and having the extra time to be able to go over scenes, pushing the animation further, really helped add an additional layer of realistic motion to the vehicles. During this stage, we were also adding in background vehicles, as well as adding a few cars to doge the truck and police cars as they progress.
​
Towards the end of the project, we added in characters to the background and foreground of shots. Using a mixture of refined motion capture data, along with some data from Mixamo, we added in quite a few characters, both reacting to and jumping out of the way of the vehicles as they chased through the city and into the slums.
I look forward to sharing my shots from this project with you here!
​
Below is a screenshot of my credit, along side a photo with Gareth Evans, the director of HAVOC, at a special screening of the film in Cardiff.
​
My work on this film is dedicated to Dad, who loved cars and action films! So glad he knew I had started on this project before he passed away.
HAVOC is streaming on Netflix now.
Nautilus
2024 - Amazon Prime
For this project, I worked on one shot that involved animating a camera around the CG Model of the Nautilus. As the team weren't sure on the angle that they wanted, I was free to explore several different options before we narrowed them down and continued to develop the ones that the VFX supervisor preferred. This continued until we got to the final version that is seen in the show.
I hope to be able to share some of the other camera shots that I proposed in the future!
Nautilus is available to stream now on Amazon Prime.
Rivals
2024 - Disney Plus
On this project, I worked on a few camera animation shots for the Concorde and also did some previz, working in Nuke for the first time for some simulation work.
​You can see one of the few shots I got to contribute to (right).
​
RIVALS is available to stream now on Disney Plus.
​​
.jpg)
Renegade Nell
2024 - Disney Plus
Renegade Nell was the second project I worked on while working at Dupe VFX. I came onto the project at the previz stage, with about half of the previz still needing to be completed. I joined a small team of animators to finish off the remaining previz, working closely with both Peter Eszenyi, the VFX supervisor, and Ceylan Hassan, the senior animator, to ensure the shots were consistent in quality and style.
Moving onto the postviz, the team was reduced to just myself and Ceylan. This involved animating Billy across plates, giving the directors a better idea of the movement and timing on Billy, allowing them to make changes to staging etc before filming Nick Mohammed as Billy Blind on set.
​
When we received the plates of Billy, we added animated wings to each scene where needed, ensuring that the speed and size of the wings were consistent. It was while completing this part of the project where I was trusted to be the only animator working through shots. This was a big task but thanks to all that I had learned on the project so far, I managed to continue developing shots to the standard required.
​
Two of the shots that feature Billy are digi-doubles, that myself and Ceylan worked closely on, to ensure that each captured his style of movement and didn’t feel out of place across the scene. This was challenging, but working as a team across these shots really helped improve my confidence and skill in doing this moving forward.
Rotomation was also required for certain shots, generally tracking the handle of the mace that Amorous held. Once these shots were tracked, I was tasked with creating a believable simulation for the chain, moving through 3D space so that effects could create an emitting simulation of soil from it. There were also a couple of other shots that required rotomation, such as the horse as it breaks through the mound and window and a single shot of a female character as they crumble to dust.
​
I look forward to being able to share my work on this show in the near future! For now I have a mini showreel, featuring some of my shots (left).
​​
