VFX Artist & Supervisor, Motion Designer & Animator.
Working in broadcast TV, film & corporate.

Contact me

Visual Effects

The Worst Witch
VFX Artist

The Worst Witch

The Worst Witch
VFX On-Set Supervisor

The Worst Witch

The Evermoor Chronicles
VFX Supervisor

The Evermoor Chronicles

We Are Not Alone
VFX Supervisor

We Are Not Alone

Odd Squad UK
VFX Supervisor/Consultant

Odd Squad UK

Jerk
VFX Supervisor & Artist

Jerk Season 3

Coronation Street
VFX Supervisor

Corronation Street

Motion Graphics & Animation

Whole World In Your Hands
Broadcast TVC

explainer video

Gameforge - Hex
Broadcast TVC

game animation

Manchester City FC
Player Promo

Dynamic editing

Energy Bonds
Explainer Video

motion graphics

Westinghouse Solar
Explainer Video

2D Animation

Grand National
Broadcast TVC

TV commercial

Birminham City University
Broadcast TVC

animated broadcast commercial

Machester City Memberships
Promotional Film

Dynamic editing

Secure Anchorage
Explainer Film

animation

Joseph Osant's French Dinners
Explainer Film

animation

Leeds College Of Music
Explainer Video

2D Animation

Manchester City
Player Promo Film

motion graphics

About Me

I produce rich, expressive and purposeful content for a variety of platforms such as online, digital media, broadcast, entertainment and advertising. Recently I've been working within the broadcast industry as a VFX supervisor and artist on TV shows for international audiences. Clients include the BBC, Netflix, ZDF, Disney, and other major international broadcasters with content being broadcast across channels and streaming platforms.

I work from pre-production through on-set supervision with directors, and departments to realise visions and within budget. I can take this from pre to post-production. Currently I have over 100+ episodes showing across broadcast & digital platforms worldwide. I describe my working practice as the art of motion and graphic design within the context of film and video using digital compositing.


Credits include:

The Evermoor Chronicles - Disney | The Worst Witch - BBC / Netflix / ZDF
Free Rein - Netflix | The Curious Case Life and Death of... - Smithsoian Channel
We Are Not Alone - Dave / BBC | Hollyoaks - Channel 4 | Coronation Street - ITV

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EXPERIENCE

Odd Squad UK - VFX Supervisor / Consultant for the BBC [Series]
COMPANY: Sinking Ship
PROGRAMME LENGTH: 30 minutes
SERIES: 4
GENRE: Children's
BROADCASTER: BBC / PBS
SECTOR: Broadcast Television
On-set supervisor for international children's show 'Odd Squad UK'. Duties were the general overseeing on set of any VFX requirements for the Canadian supplier. Liaising with production and across multiple departments and the VFX studio prior to filming to help design shots in pre-production. I would discuss requirements with the remote vfx supplier / production company and advise on feasibility in conjunction with the studios initial assumptions taken from the script after visiting set and resources. On the set during filming, the usual data gathering and reference shots would be recorded along with making sure any VFX methodology is adhered to. These would generally include camera measurements, Macbeth charts, HDRI and reference balls. As a supervisor keeping an eye on correct filming conditions for VFX including performance timings, continuity, reactions and lighting of sets and green screens also comes with the role.
Henpocalypse! - VFX Artist [Series]
COMPANY: tracks N Layers
PROGRAMME LENGTH: 30 minutes
SERIES: 1
GENRE: Comedy
BROADCASTER: BBC 3
SECTOR: Broadcast Television
VFX compositor (uncredited) taking edited rushes adding effects and matte paintings within scenes, these would include smoke and fire plates and particle setups. Using my artist judgement for timings and amount of vfx to be added to play well with the scene.
Kynect TVC - Post Production / Compositor [Commercials]
COMPANY: Picasso Pictures
PROGRAMME LENGTH: 30 Seconds
GENRE: Advertising
SECTOR: Broadcast Television
Digital compositor working to bring together 3D and 2D elements into a hand drawn animation style for broadcast TV Commercial. Challenging aspects were pseudo 3D shadows hand created and tracked into shots. Various outputs were created involving re-editing signed off initial master edits. These would be 30, and 15 second versions in multiple languages and formats such as 16:9, 9,16 and 1:1.
  • Kynect Get: Moving
  • Kynect: Outdoors

    • See More

    Paradise - Post Production Supervisor [Feature]
    COMPANY: Territory Studios
    PROGRAMME LENGTH: 90+ minutes
    GENRE: Sci-Fi Drama
    BROADCASTER: Netflix
    SECTOR: Broadcast Television
    Post production Supervision (uncredited) of paint and roto aspects for Netflix original “Paradise”. Assigning, annotating shots for vendors and QC on completion of task before sending back into comp / pipeline. Working to isolate pixel perfect issues before sign off and populating into edit.
  • Paradise Trailer
    •
    Argylle - VFX Artist [Feature]
    COMPANY: Territory Studios
    PROGRAMME LENGTH: 90+ minutes
    GENRE: Comedy Drama
    BROADCASTER: Cinema Release
    SECTOR: Feature Film
    VFX Artist (uncredited) Worked on a small series of shots for feature film Argyll. Work involved tracking and paint outs of crew and lamp reflections while restoring some elements in scenes and cleaning up of crew equipment.
  • Argyll Trailer
    • We Are Not Alone - VFX Supervisor / Artist [Feature Pilot]
    COMPANY: Tracks N Layers
    LINE MANAGER: Michael Pettyt
    PROGRAMME LENGTH: 90+ minutes
    SERIES: Pilot / Feature
    GENRE: Comedy
    BROADCASTER: UKTV / Dave / BBC
    SECTOR: Broadcast Television
    VFX artist compositing 2D shots in sci-if comedy. These often required digital paints, rotoscoping, mattes, and special effects. Screen replacements, set extensions, special effects part of the process working in UHD. Some shots required complex compositing of multiple tracked components.
  • We Are Not Alone Trailer
    • JERK SERIES 3 - VFX Supervisor & ARTIST [Series]
    COMPANY: Roughcut TV
    LINE MANAGER: Victoria Thomas
    PROGRAMME LENGTH: 30 minutes
    SERIES: 3
    GENRE: Comedy
    GENRE: BBC 3
    SECTOR: Broadcast Television
    Various shots from 2D to 3D along with paint and rotoscoping work and 'effects' being added. Combined numerous takes together into 1 shot requiring complex rotoscoping, tracking and paint work along with shots requiring 3D animated digital assets and 2D assets painting and tracking to actors. Several screen replacements on mobile devices.
  • Jerk Episode 1
    •
    Coronation Street - VFX Supervisor [Serial Drama]
    COMPANY: Bait Studios
    PROGRAMME LENGTH: 30+ minutes
    GENRE: Serialised Drama
    BROADCASTER: ITV
    SECTOR: Broadcast Television
    On-set supervision (uncredited) across multiple sets and locations during the filming and pre-production of VFX shots for the "super soap week". The work involved green screen, wire work, underwater filming along with trap door work and integration of practical, 2d and 3D elements.
  • Cornoation Street Super soap Week Trailer
    • The Curious Life and Death of... - VFX Artist [Series]
    PROGRAMME LENGTH: 50 minutes
    SERIES: 1
    GENRE: Historical Documentary
    BROADCASTER: Smithsonian Channel
    SECTOR: Broadcast Television
    (uncredited) Role involved integrating 2D and 3D elements into live action footage using multiple pseudo 3D techniques to beguiled believable digital screens and assets.
  • The Curious Life & Death of Trailer
    •
    The Worst Witch Series 4 - VFX Supervisor & Artist [Series]
    RCOMPANY: BBC / Netflix / ZDF
    PROGRAMME LENGTH: 30 minutes
    SERIES: 4
    GENRE: Children's Fantasy drama
    BROADCASTER: BBC / Netflix / ZDF
    SECTOR: Broadcast Television
    Working with the production team my role on set was to liaise with the Director and department heads and supervise shooting of the VFX shots and elements. Many aspects of the work involved 'magic' so on set I would need to create workflows to help use props or actions and have these work in post. This included multi pass camera work, split screens, green screens and wire work. In post production I worked as a VFX Artist to take the raw footage and apply various VFX techniques to create shots ready for supplying to the edit. I created a lot of magic particularly systems and morphing of performers along with green screen keying, set extensions and wire work. Pretty much every technique was used!
  • VFX artist compilation
  • VFX supervisor compilation
  • The Worst Witch Series 4
    •
    Free Rein - VFX Artist [series]
    COMPANY: Lime Pictures
    PROGRAMME LENGTH: 30 minutes
    SERIES: 3
    GENRE: Dramaa
    BROADCASTER: Netflix
    SECTOR: Broadcast Television
    VFX compositor (uncredited) for internationally broadcast and award winning show Free Rein. Work involved complex tracking and digital painting of shots with horses and running moving camera. Most these shots needed paints across moving performers and touch ups of floor from earlier takes.
  • Free Rein Trailer
    • The Worst Witch Series 3 - VFX Supervisor & Artist [Series]
    COMPANY: BBC / Netflix / ZDF
    PROGRAMME LENGTH: 30 minutes
    SERIES: 3
    GENRE: Children's Fantasy drama
    BROADCASTER: BBC / Netflix / ZDF
    SECTOR: Broadcast Television
    Working with the production team my role on set was to liaise with the Director and department heads and supervise shooting of the VFX shots and elements. Many aspects of the work involved 'magic' so on set I would need to create workflows to help use props or actions and have these work in post. This included multi pass camera work, split screens, green screens and wire work. In post production I worked as a VFX Artist to take the raw footage and apply various VFX techniques to create shots ready for supplying to the edit. I created a lot of magic particularly systems and morphing of performers along with green screen keying, set extensions and wire work. Pretty much every technique was used!
  • VFX artist compilation
  • VFX supervisor compilation
  • The Worst Witch Series 3
    • The Worst Witch (S2) - VFX Supervisor & Artist [Series]
    COMPANY: BBC Studios
    PROGRAMME LENGTH: 30 minutes
    SERIES: 2
    GENRE: Children's Fantasy drama
    BROADCASTER: BBC / Netflix / ZDF
    SECTOR: Broadcast Television
    Working with the production team my role on set was to liaise with the Director and department heads and supervise shooting of the VFX shots and elements. Many aspects of the work involved 'magic' so on set I would need to create workflows to help use props or actions and have these work in post. This included multi pass camera work, split screens, green screens and wire work. In post production I worked as a VFX Artist to take the raw footage and apply various VFX techniques to create shots ready for supplying to the edit. I created a lot of magic particularly systems and morphing of performers along with green screen keying, set extensions and wire work. Pretty much every technique was used!
  • VFX artist compilation
  • VFX supervisor compilation
  • The Worst Witch Series 2
    •
    Hollyoaks - VFX Artist [Serial Drama]
    COMPANY: Lime Pictures
    PROGRAMME LENGTH: 30 minutes
    GENRE: Serialised Drama
    BROADCASTER: Channel 4
    SECTOR: Broadcast Television
    2D compositor (uncredited) of a 'special' where stunt co-ordinators and safety equipment needed painting out of a moving shot. The shot contained various reflections within windows and other paint work with complex tracking

    The Worst Witch (S1) - VFX Supervisor [Series]
    COMPANY: BBC Studios
    PROGRAMME LENGTH: 30 minutes
    SERIES: 1
    GENRE: Children's Fantasy drama
    BROADCASTER: BBC / Netflix / ZDF
    SECTOR: Broadcast Television
    Working with the production team my role on set was to liaise with the Director and department heads and supervise shooting of the VFX shots and elements. Many aspects of the work involved 'magic' so on set I would need to create workflows to help use props or actions and have these work in post. This included multi pass camera work, split screens, green screens and wire work. In post production I worked as a VFX Artist to take the raw footage and apply various VFX techniques to create shots ready for supplying to the edit. I created a lot of magic particularly systems and morphing of performers along with green screen keying, set extensions and wire work. Pretty much every technique was used!
  • VFX artist compilation
  • VFX supervisor compilation
  • The Worst Witch Series 1
    • The Evermoor Chronicles (S2) - VFX Artist [Series]
    COMPANY: Lime Pictures
    PROGRAMME LENGTH: 30+ minutes
    GENRE: Teen Drama
    BROADCASTER: Disney
    SECTOR: Broadcast Television
    VFX Artist working on a large volume of shots requiring matte paints, set extensions, 3D compositing, particle systems, wire removal, digital morphing techniques as well as wire removals, green screens and split screen techniques.
    Aired Internationally
    2016 - Emmy - Nomination
    The Evermoor Chronicles - VFX Supervisor (S2) [Series]
    COMPANY: Lime Pictures
    PROGRAMME LENGTH: 30+ minutes
    GENRE: Teen Drama
    BROADCASTER: Disney
    SECTOR: Broadcast Television
    Designed and presented visual effect styles to production up to executive level before briefing and designing how to film these shots with the director. On set the responsibilities were to aid the Director in capturing all requirements for the any shots with VFX but also be ready to help take on shots that can save time during general filming processes. In post production I assembled of team of artists with a varety of skills to complete assigned tasks. I briefed and supervised the team to deliver VFX shot on time and budget also picking up shots where we could help out the edit and production levels.
    2016 - Emmy - Nomination
    The Evermoor Chronicles - VFX Artist (S1) [Series]
    COMPANY: Lime Pictures
    PROGRAMME LENGTH: 30+ minutes
    GENRE: Teen Drama
    BROADCASTER: Disney
    SECTOR: Broadcast Television
    VFX Artist working on a large volume of shots requiring matte paints, set extensions, 3D compositing, particle systems, wire removal, digital morphing techniques as well as wire removals, green screens and split screen techniques.
    Aired Internationally
    Contact me

    FAQs

    What does you as a VFX supervisor do?
    A VFX (Visual Effects) supervisor oversees the creation and implementation of visual effects in a film, television show, or other visual media project. They work closely with directors, producers, and other department heads to ensure that the visual effects align with the overall creative vision of the project. Their responsibilities include planning and budgeting for visual effects, managing VFX teams, supervising the VFX production process, and ensuring that the final result meets quality standards and deadlines.
    Do you work in pre-production?
    I can handle the design and initial discussions around visual effects feesibility along with costs and any methodologies involved in the filming of these. VFX can be a useful way to save time and money in production also enhancing ideas, props, backgrounds as well as providing quick fixes and digital paintouts and as a VFX supervisor I can guide you throgh the process.
    Can you take on just the production (filming) of the VFX work?
    Flexability is a must, I am happy to provide cover from a single days cover through to taking on all aspects of the production from pre-production and conceptualising to the on-set supervision and post production. Projects can range from 10 second commercials or a single 'green screen' shoot, through to feature length shows with thousands of potentisl VFX shots.
    What are the main elements you cover on set?
    On set, a VFX supervisor primarily oversees the following elements:
    • 1. Integration of Practical and Digital Effects: Ensuring that practical effects (physical props, sets, etc.) are set up correctly to seamlessly integrate with digital effects during post-production.
    • 2. Data Acquisition: Supervising the capture of necessary data for visual effects, such as reference photos, lighting information, and camera information.
    • 3. Green Screen and Tracking: Ensuring proper setup and lighting for green screens or other background replacements, as well as overseeing tracking markers for camera and object tracking.
    • 4. Stunts: Ensuring that any stunts or actions performed on set are done in a way that allows for the integration of visual effects where necessary.
    • 5. Real-time Feedback: Providing real-time feedback to the director and other crew members regarding how certain shots will look once visual effects are added.
    • 6. Coordination with Other Departments: Collaborating with departments such as camera, lighting, and art direction to ensure that all elements of the scene work together effectively for the final visual effect.
    Can I hand over all the vfx worry to you?
    Sure, if you just want to hand over a package of shots I can handle this, I can work as a VFX artist myself or asseble a team; I have a lot of resouces I can call upon at short notice to tackle projects not matter the size.
    Can I send you just the post-production and you work on the shots?
    Yep, I'm very comfortable with a package of shots and working on these as an artist myself taking established ideas or I can asseble a team or artists and co-ordinate these creating a reassuring workflow and quality of post produced shots. I often find myself receiving shots not originally down to be VFX but require some assistance in fixing errors or adding elemets that werre only devised in post production. Anything is possible.
    Do you accept single shots or a small number of shots?
    Absolutley, theres no minimum amount of work you can send. I understand sometimes unplanned things can happen and you sometime do need to "fix it in post". Maybe not the ideal situation, but send it over and let me take a look you'd be amazed at what is possible sometimes, I have a lot of resources I can call upon to fix some pretty worring situations.
    What data do you feedback to clients?
    It’s ideal to commission a VFX supervisor as early as possible in the pre-production phase of your project. This allows them to be involved in the planning and development stages, offering insights on how visual effects can be integrated seamlessly into the overall creative vision. Early involvement also gives the VFX supervisor time to assess the scope of the project, provide input on budgeting and scheduling, and establish workflows with other departments. This proactive approach helps ensure a smoother production process and a higher quality final result.
    How soon should you be commissioned?
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