I am currently on a lengthy contract that theoretically runs until the new year, but don’t let that stop you getting in touch using the details below!
For the last couple of years I’ve been concentrating on Houdini related work, so if that’s what you’re after we’ll get along even better. I can work remotely on your machine, plus have local Houdini Indie and Redshift 3D licenses.
Prior to that I have an additional 13 years experience of other 3D software, including some Maya and a whole lot of Softimage – remember that?
After a few more years of pootling about working in London and 2 years of Houdini work, it’s about time I updated my VFX reel! The previous one missed many projects out, so it’s fitting that this one is practically a 2019 one, especially considering the months spent during lockdown working on a personal project or two.
This particular reel contains some of the more effective and impactful shots I worked on for The Planets and the second series of Britannia, both at Lola Post Production in London’s West End. The Planets mainly involved decorative spheres in space, with a strong style that leans heavily on NASA’s archives with inky blacks and no stars. See my preview post from a while back for details!
As an aside here, as someone who has switched 3D software to Houdini, if you’re considering learning Houdini, don’t be daunted! Start with the simpler stuff. At Lola, I was given a Houdini Core license which gets used in studios to do the day to day 3D tasks, working on shots, bringing in assets others have made, plus creating shaders, doing layout work etc. If you can handle that, the FX stuff becomes a lot easier to get your head around because you are already thinking Houdini. Looking back, especially now I have my own Houdini license at home, if I had dived into the FX end of things first it would have put me off the software. I can now easily work around problems with wrangles, writing my own nodes in VEX, I understand the logic with which the transforms are put together, the reason why global transforms are hardly ever differentiated from local and so on. If I had to learn that AND how to make a custom destruction sequence I’d be a full time bowl carver by now.
Enjoy the reel! And the drum and bass. Apologies, I needed something with pace and no lace. Feel free to use that last sentence in a conversation today.
After many years of work I’ve finally built up enough new shots to replace much of my old reel. It served me well, bringing in many projects, and indeed some of the better shots still remain, but now with spangly new work alongside!
My contribution to each shot is shown briefly in the bottom left of the screen, with a much more detailed explanation written shot by shot in the PDF breakdown.
In the past few years I’ve been fortunate enough to work on some very interesting projects that have been subject to watertight NDAs. Now that they’ve been broadcast and the dust has settled, it’s a real bonus for me to finally be able to share some of these with you.
The MARS series and Teletubbies were two such projects. MARS was seven months of my time and if I recall correctly, Teletubbies was significantly longer. This left two large projects missing from my reel and consequently any updates to it felt kinda pointless as I’d only be adding one or two shots and labelling it a new reel. The thing with working in TV or film is not all shots that I work on are actually showreel-worthy. Many are similar to each other or shots I’ve made previously, or they may be created using other people’s systems, to the point that putting them in a reel of my own work feels disingenuous.
This reel has been a long time coming, so I hope you enjoy it!