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I worked on a Tv Christmas Ad campaign for Anchor Butter. The spot was entirely CG.
Lighting/ Rendering/ Lookdev/ previs &layout/ pre compositing/

I worked on a high profile Ad Campaign for Meta. I was involved in various roles across a series of commercials for the Meta Quest Vr headset. In collaboration with Netflix and YouTube.
Lighting/ Rendering/ Lookdev/ previs &layout/ pre compositing/

Created the LookDev for Cristiano Ronaldo/ Lighting/ Rendering development for the spot.

I was part of the lighting & VFX team that brought SKII and Simone Biles to Times Square in New York. Animated sequences projected onto screens -featuring the Advertising/Social media campaign and an animated feature. Crafted in a distinctive 3D style, the film draws inspiration from classic animation and gives it a fresh twist as Simone embarks on her adventure, ultimately confronting a massive troll-Kaiju.

I completed work on the animated/ live action feature film for Apple TV ‘The Velveteen Rabbit’.   

I was a senior Lighting/Look dev/Layout & Environment artist on the Amazon AWS Tv ad campaign series broadcast in the U.S., featuring the NFL and the NHL. The Light streams that trail from the main character I also created. 

For this Tv ad campaign I worked within the 3d team under the supervision of Jordi Bares, at The Mill,  in London. I was part of a team that was responsible for creating a fully Cg train for all the exterior shots. I was involved in all aspects – from previs through to texturing, lighting and rendering.  I also created and rendered a CG double of Daniel Craig for the closing shot as he parachutes over the ravine…

Director: Alejandro Gonzalez Inarritu  (2 Oscar nominations.)  (Film credits include ’21 Grams, Amores Perros and Babel)
For this Tv ad campaign I worked within the 3d team at The Mill, in London. This particular spot it is claimed was arguably the most expensive Tv commercial ever produced. Among the various celebrity footballers featured, is none other than a cameo of Homer Simpson himself.
The Stadium, the crowd itself and all other elements including the advertising banners and ticker tape was entirely computer generated.  I was involved in creating the layout for a number of shots,  and also for the lighting and final rendering of some of them. Most notably the end shot featuring Ronaldo as he takes the final kick….

For this Particular campaign I was responsible for the look development,  lighting, and rendering for the final hero shots of the Range Rover as it drives past camera, having completed it’s assembly.

I was responsible for the train shot for this ad : tracking, layout of the shot, texturing, modeling props and parts of the trains themselves, in addition to lighting and rendering them.

Director:  Daniel Kleinman For this ad campaign I created the end shot of the Lexus concept car.  I served as the CG art director, working along side a veteran live action photographer who spends a great deal of his time shooting the real thing for luxury car campaigns. Together, we created the final look.  I created the environment for the reflections on the car, along with animating, lighting, shading and the rendering of the car itself.

I was involved in recreating the series in CGI for Aardman and Channel 4 based on the stop motion original

Director: Tom Hooper  (Oscar for Best Director.)  (Film credits include ‘The King’s Speech and Les Miserables)
For this ad campaign I worked on the interior shot of the car as it comes together under Nicholas Hoult’s supervision.
I contributed along with another rendering artist, to the layout, final lighting, shading and rendering of the shot.

I worked on one of the cinematics for the Call of Duty videogame. In particular, of a disintegrating Los Angeles. The layout and models I created and textured for much of the sequence, along with the ground, as well as the lighting, rendering.

This ad was a collaboration between The Mill and Passion Pictures. I worked on two of the shots of the racing car – a rear shot in the pit as it has a tyre change and the close-up as it runs over a line of dominos.  I was responsible for the lighting and rendering of these two shots.

For this spot, I created the background environments and was involved in the layout and placing of some of the light trail effects that travel across his skin.
I was responsible for the lighting /rendering of a sequence of shots. And for some of the look development of the assets.

I have been involved with several of the Meerkat campaigns ; an example of which is this spot.I created the lighting for the sequence of night time city shots including the closeups of the meerkats along with the precomposites. With additional mattepainting for the UFO, cityscape and The robot lighting design.

For this promo I was a Lead artist  – helping to develop the look of the characters, and their integration with the live action plates. In particular, how they would shade according to the various lighting scenarios of the nightclub environment, while still maintaining the familiar look of Jamie Hewlett’s original designs.

For this ad campaign I worked on the final shot of the car as it drives away…. Large parts of the CGI car I tracked and textured, lit and rendered to replace the existing live-action. All this to create the illusion of having been driven through the elements….battered by ice and snow.

For this Tv ad campaign I worked within the 3d team at Glassworks, in London. We created a series of digital environments to describe a futuristic Rugby training facility. In addition to the elevator lift sequence, I was involved in creating the ‘robot arm training ground’; from initial layout, to modelling, shading, lighting and final rendering.

I was responsible for the lighting / rendering of a sequence of shots. And for some of the look development of the assets.