Two offerings, same finish standard: hybrid VFX for productions that mix live action with CG, and training for studios and film schools that want that craft taught from real shows.
Plate-first compositing for features, series, and smaller shows. I start with what was photographed and only add what the cut needs.
Wires, rigs, crew, and anything else that breaks the photographed frame. Paint that matches the plate, not a filter laid on top.
Creatures, buildings, and props that have to live in the same light as the plate. I have worked both camera and composite, so the integrate is not an afterthought.
Keys that hold edges, spill, and motion blur, so the actor still belongs in the new world.
Explosions, weather, smoke, and muzzle flashes, from a 2D element or a 3D render, finished so the shot still cuts.
Make the photographed set carry a bigger world. Matte paintings and CG extensions that respect the lens.
Skin, makeup, and age work that still looks like the person who was on set.
The same finish standard, taught to studios and film schools that want the craft from real shows rather than a software tour. I previously taught at NYFA, the New York Film Academy (Almaty).
How a shot gets to final: notes, versions, deep, stereo, and the difference between a pretty frame and a sequence that cuts.
ACES and OCIO for artists who have been told to just use the show LUT. What breaks in review, and how to stop it. I also maintain ocio.cc.
Workshops for compositing teams and courses for film programs. Previously taught at NYFA, the New York Film Academy (Almaty), in person or remote.
Show experience at ILM, DNEG, Method, Rodeo, MPC, and Tippett. Remote finishing from Vancouver, Montréal, Sydney, London, and Almaty. NukeX, ACES, and OCIO.
Full filmography