This Project was the largest that Framestore IA had stepped up to. With a total of 367 shots across this season it was a huge task but the team have proved themselves once again with some outstanding work of the “Alien Enity”.

My tasks on this project involved ingesting object and camera tracks as well as applying retimes to multiple shots of the character within the enclosure of the Alien Enity - With most of these shots looking so similar my main challenges were making sure all object tracks worked flawlessly against Mitsuki’s helmet as this project involved a lot of reflection work and micro movements within the obj tracks.

Working with multiple plates within 1 shot and Bumps in the road with retimes I learnt a lot about problem solving and ironing out ingests within a quick turn around time. It was a very challenging, huge project but I throughly enjoyed it.

I was involved in the fifth season of Netflix’s ‘The Crown’ as Layout Technical Director. My role in post production mainly involved thing’s like:

Set Extension for locations such as Buckingham Palace, Windsor Castle, The Ritz and the Royal Yacht Britannia. Camera retimes for various shots. Camera layout and movements for traveling shots following Britannia and cars. Tracking Line Ups for set extensions. Tracking Ingests from outsource Vendors and Repositioning of cameras within 3D space

Below are several of my layout shots - I was responsible for layout on 100+ shots over the whole season

Man Vs Bee was my first experience of being Layout Technical Director on a full series. During my time on this production I ingested many tracking shots from outsource - adding them into our pipeline and positioning the nessesary assets such as the Bee, many props and set extensions within the tracked shot.

This Project also gave me my first experience of doing my own tracking within 3D equalizer, working with Lens Distortion and Lens Grids.

I got the chance to do some anim blocking/previs for the beehive shots as well - it was a really enjoyable, fun project!

The Baby is a limited comedy horror show for HBO.

My layout work involved ingesting tracks from a vendor; both camera and object/body tracks as we’d be replacing either the live action baby with a CG one with additional horror effect (teeth, blood,exaggerated facial movement) or a prop baby with natural movements of a real baby. All aspects of this job involved combing through ingests to make sure the body tracks were perfect against the live action/prop baby so we could make our CG replacement as convincing as possible.

Not only work on the baby was carried out but additional FX of blood and gore as well as set extension and a lot of work with LIDAR scans, retimes and offsets of tracks were required. This was my first Episodic project at framestore so I was able to apply a lot of new skills under a project that required a lot of different elements and workflows.

Pip and Posy was one of the most enjoyable projects I have worked on. All of the layout work on the first 50 episodes was solely my work as I was a solo layout artist on this production so had to manage my own time, plan out shots and make sure I was able to meet the weekly deadlines for each episode.This was my first totally remote project as it took place over 2020 to 2021 during the pandemic so it ended up being a huge learning curve as well as having addtional challenges of not being in a studio envirnoment.My tasks involved taking 3D camera data from Blue-Zoos own storyboarding software and applying it into maya with the characters, staging them in similar poses to the storyboards but adapting the shot if it didn’t translate well in 3D.

This is a project I will always look back on foundly as it was such a lovely show but also allowed me to change a lot of my usual workflow and dependancy on fellow artists as a solo department. I learned a lot.

Jessy and Nessy is an Amazon Prime Kids original show. This was my first full Children’s TV production at Jam Media in Ireland.

Jessy and Nessy was also the first production I experienced as a Layout Artist (credited as Scene Prep) so was a huge learning experience for me and ultimately led to where I am today as an Artist.

For a period of time through this project I moved departments to Lighting and Render to build my skillset which helped be showcase my skills as a fast learner and as someone always keen to try anything new things.

This was my first ever immersive project and my first ever project at Framestore IA.
As a huge fan of theme park rides and Dark Rides this was a fascinating experience.
We did all of the CG on screens throughout the ride and incoroperated the live action actor with the elements on screen. Dark ride projects involve a lot of timing and interaction so you are constantly making adjustments to the screens and those elements of FX and animation to work with the ride vehicle and live action sets, FX and lights.
We also had to set up timing and placement for some Pepper’s Ghost illusions throughout the ride which was an interesting process.

A lot of this project involved me object tracking - Kevin Bacon was holding an old model of the iphone on set (as the new one hadn’t been released yet) and it was our departments job to object track the phone in his hand to replace with a CG model of the new iphone.

This was my first experience of object tracking and I found it quite therapeutic along with the challenges of no slipping to make the CG object in his hand as convincing as possible.

Here I added the rig of Jeff the lizard for anim to take over.
We had several LIDAR scans of the sets to work with in placing the vaccum rig along with jeff, a lot of retimes were applied in layout to the CG camera and animation as the edit was made to music so it involved a lot of back and forth to make sure we delivered something that worked on screen.

This was my first project on an advertisiment at framestore, it had a very fast turn around but I was able to hit the ground running applying tools I had learnt in a previous projects workflow.

This is a very wholesome, cosy campaign - our work involved adding Iggy onto the live action footage and replacing a proxy placeholder they had on set for the actors to interact with.

My time on this project was very short as I only did a couple of shot on it but I think the final delivery was exceptional - and seemed to be a real hit with audiences in 2021

Jeff Rock’s out was a project for Three Ireland.It was a project that I got to do some very simple tracking in as well as bloacking out some geometry for the character to cast shadows on (final shot).Working with basic LIDAR for this project was the biggest challenge, being on such a small set and objects being moved posed for some tweeks to be made for the CG element of Jeff on top of the speaker. This coupled with few tracking markers on set created a challenge for tracking and layout to bounce off eachother to create the final placement for the assets in conjection with the live action footage.I think we did a great job working as a team to overcome the issues with a great result which matched the client’s vision.