Added rain to both deep night and daytime shots using Nuke to track, using layered cards, and made wide panoramas of rain with tons of rotoscoping, also adding floor rain where needed. I comped most of the whole scene. - Rushes

Nuke CG and 3d Camera Tracking of Damage on spitfires for this realistic BBC drama. – Invisible Arts

Supervised the Nuke comping for the Cannes entry short film. – Tessilato

Complex matting & colour correction with Shake, including killing burnt highlights on a lawn, along with roto work in Silhouette.

Managed and comped over 120 shots with a small team and did all data handling. Retiming with Twixtor, roto and paint work in Silhouette.

Worked on 12 wire removal shots in Shake and data handling with PFPlay.

Worked on 3 in-flight green screens. Shake. – Senate

Supervised and comped over 54 2K green screen shots with a fellow Shaker and did the data handling with PFPlay.

Managed and comped 15 shots in Shake and data handling.

Comped several 'gloop' shots, split a body and head open, and did all data handling. All work was 2D. - Glimpse

Trailer shots, Shake. – Peerless Camera Company

Worked and supervised on a range of shots with 2 CG artists included rock falls and the end sequence in Shake, using PFTrack to solve various complex problems on these and other shots. - Peerless Camera Company

Worked on the Dr Manhattan look with Shake and PFTrack before the project was shelved. - PreVis work

Created and executed the main titles and supervised the credits, working with the director. – base black

Lead compositor on Shake with a team of 3 people. Various retimes with PFTrack, background replacement shots and 13 layer crowd duplication shot for the mass exodus – base black

Comped a single shot with a fellow Shaker putting blood on bodies, beds and clothes. – base black

Lead compositor on Hagrids Hut sequence with his pumpkin patch and all the crows. Comped various CG and blue screen crows, retimes, rig removal and set extensions. – base black

Lead compositor working on various flaming priest shots in the Balans Forge sequence. – base black

Helped set up the project and recruit with the Producer a hand-picked team of 2D and 3D artists. Comped and supervised the initial 'proof-of-concept' shots, supervised a team of 3D artists and 2D roto/paint artists.

Henson's Creature Shop Worked on a complex split-screen and stabilising shot for the trailer. Polished the shot for the final film. - Directed by Jan de Bont

Worked on 2 detailed and creative shots with 'the body in the wall', adding all lighting and explosions in 2D. - Directed by Olivier Dahan – base black

Senior Shake artist on various background/sky replacements. Also had to kill all highlights in a moving 'car-through-water-in-sunlight' shot to make it a dull day. - Directed by Richard Loncraine – The Hub

Henson's Creature Shop Senior Shake compositor on various shots over about 3 months. -Directed by Kirk R. Thatcher

Sole Shake artist with 12 green screen shots. – base black

Shake compositor on various submarine CG shots. - Directed by David Twohy – Double Negative

Shake compositor on the NASA suiting up sequence, as well as breaking glass shots and the hospital scan sequence. - Directed by Peter Hewitt – Double Negative

Peerless Camera Company Lead Shake compositor. Worked on the Puppet sequence adding 2D volumetric lighting to 30 shots from 5 different camera angles & handling continuity. Also did a complex – Pinocchio kiss shot and helped supervise and comp the white-rats-pulling-carriage sequence. - Directed by Roberto Benigni

Shake compositor for various car blue screen shots, set extensions and background extensions. - Directed by Jean-Marie Poiré – Visual Factory

Henson’s Creature Shop Lead compositor in charge of the Jacks Trial sequence with crowd duplication and set extension. - Directed by Brian Henson

Directed by Jean-Jacques Annaud- Das Werk, Dusseldorf Shake compositor on various shots. Worked solo on Kulekov's shooting for 10 days for a great show reel piece. Matte painting set extensions and binocular shots.

Peerless Camera Company Senior Cineon compositor on the helicoptor-drop-off-on-K2 sequence. Various set extension, blue screen and snow addition shots. - Directed by Martin Campbell

Cineon compositor. Total creative control over various creative retimes. - Directed by Paul McGuigan

Cineon compositor. Various comps, creative concepts and satellite shots over. - Directed by Jon East

Cineon compositor. Co-worked with a fellow Cineon artist on 4 B/W shots for a beautiful looking film. Had total creative control over the comping. - Directed by Billy O’Brien

Cineon compositor. Worked on the Tiger, German forest attack and Rome arrival sequences - Directed by Ridley Scott

Cineon compositor. Work on 'the look and feel' of the cats and dogs. - Directed by Lawrence Guterman

Cineon compositor. Various rig-removal, blue screens and mood making shots & co-removing sand footsteps from a 720 degree camera move on a beach. 3 months work. - Directed by Anand Tucker

Cineon compositor. Also handled all the I/O, log-lin conversions of the Cineon files and helped on a huge crowd duplication shot. - Directed by Brian Gibson

Cineon compositor. Various blue screen shots, rotoscoping, multi layer animal comps, talking mouth comps and CG plane additions as well as a singing mice exit wipe. - Directed by George Miller

Head destruction & crushing, plus thumb re-animation using Nuke and cards and comping tricks, plus bullet hits and dust general comping. - LexHag

Build a Leeds/London hybrid card cityscape using NukeX (with Atomkraft for reflections) for various handheld and dolly shots, lots of tricky keying too.

Worked all the shots together as a set. – LexHag

Cineon compositor. Worked on 2 shots including rotoscoping. - Directed by Stephen Hopkins