Visual effects

I have worked as a VFX generalist on award-winning feature films and TV series, doing effects, compositing, matte painting, paint and roto work.
Mostly using After Effects, Photoshop and Mocha.

Hidden: S2, Eps 2-6 (2019)  BBC Wales, 5 x 60 min

• Compositing mountains in the background of fixed and moving shots.
• Removing objects from shots to ensure continuity.
• Stitching together a shot from several different shots.

Hidden: S1, Eps 1-3 (2018)  BBC Wales, 3 x 60 min
Visual effects

• Developed a damaged analogue CCTV footage look to serve as a visual device to obscure the suspect’s face.
• Subtle CGI blood and screen replacement compositing.

Keeping Faith: Season 1 (2017)  BBC/S4C, 8 x 60 min
Retouching, wire removal, visual effects

• Delivered around 120 shots, most included retouching/digital makeup and wire removal, often on long takes (over 30 secs).
• Some were difficult reflection removal from glass surfaces and screen replacements.

Hinterland: Seasons 2–3 (2015–16)  BBC/S4C, 9 x 90 min
Visual effects, screen replacements, paint

• Delivered 410 shots over the two seasons of the show, most of them were paint work of various difficulty - from simple paint-outs of crew and production equipment to tricky removals of reflections and lens flares on moving shots, sometimes merging together multiple takes.
  
• Did matte painting to alter the landscapes and composited rain, fog and haze elements to help create the bleak and desolate look of the show.
  
• Created analogue look for surveilance camera footage that heavily features in the show.
• Composited many screen and photo print replacements, often on moving shots with foreground and focus pulls.
• Several day-for-night shots.
  

Living a Lie: Seasons 1–2 (2016–17)  S4C, 16 x 50 min
Green screen compositing, screen replacements, motion graphics, on-set vfx supervision

• Created the on-screen motion graphics assets of the fictional news channel that’s central to this Welsh political TV drama.
  
• Keyed and composited about 300 green screen shots to create a virtual multi-camera news studio footage, supervised the green screen shoots on set with live keying for preview purposes.
  
• Composited the news studio footage on computer, TV, phone and tablet screens in scenes that often had foreground elements and characters handling the devices. 

Gwaith/Cartref: Seasons 7–8, 9 Ep 1,4 (2017) S4C, 22 x 24 min
Motion graphics, paint

• Created on-screen display elements to vizualize text messages, computer screens and social media interactions between the characters of the show.
• Some paint work and stitching of takes.

Ellen (2016) dir. Mahalia Belo, 90 min
Paint

• Removal of brand labels from clothes and environment.
• Various paint work including reflection removal.

The Passing (2015)  dir. Gareth Bryn, 89 min
Visual effects, matte painting/set extension, paint

• Delivered around 50 visual effects shots.
  
• Created and composited rain, fog and snow.
• Matte painting, mostly to alter the landscape in exterior scenes by adding mountains in distance to aid the claustrofobic feel of the film set in a valley.
• Some paint work to remove non-period elements. 
  

Under Milk Wood (2015)  dir. Kevin Allen, 96 min
Visual effects, matte painting, retouching

• Composited dreamlike day-for-night shots, essential for telling the surreal and visual story.
  
• Matte painting and sky replacement to achieve an altered, hightened reality feel to help create the fictitious odd town the film is set in.
• Retouching and paint work on faces to fix makeup and wardrobe imperfections.
• Merging of different takes.