this is what he's done.
2007-2009: Compositor and 2D TD at Molinare London.
Alongside compositing work, developed the VFX pipeline. Scripted automation for dailies, looked after media and storage, maintained the colour pipeline, and created custom tools for specific shows and effects. Supervised paint and roto artists on smaller jobs, supported Final Cut Pro online sessions and did the odd spot of design. Comp work was on the following shows:
Easier Ways to Make a Living - London skyline matte painting comp
Locked In - car crash interior greenscreen comps, ~15 shots
SoulBoy - paint & roto supervision plus ~5 cleanup and anachronism removal shots
Cherry Tree Lane - wire cleanup, 2 shots
Chatroom - hallway extension comps, ~5 shots
It's a Wonderful Afterlife - greenscreen ghost flying comps, set extensions and food fight comps, ~15 shots
Boogie Woogie - cleanup supervision, tshirt logo replacment comp, cigar embers comp
Everybody's Fine - cosmetic cleanup, 2 shots
Reykjavik Whale Watching Massacre - pyro rig removal comp
Bale - cleanup supervision plus 2 logo removal comps
Pelican Blood - main title design and comps, ~10 shots plus bird flock and crowd rep comps
Doghouse - CG golfball in flight comps, ~10 shots
Bunny and the Bull - snowglobe, map, postcard-world comps, inserts and cleanup, ~30 shots
The Damned United - anachronism removal, ~5 shots
Moon - main title comps and versioning, screen inserts, various matchmoves, cleanup, ~40 shots
Goal! III - bluescreen player/stadium comps, ~10 shots
Little Ashes - luminescence roto and comps, anachronism removal, cosmetic cleanup, ~20 shots
The Heavy - blood and gore comps, set extensions, TV inserts, cleanup, ~20 shots
Better Things - cosmetic cleanup and fixes, ~10 shots
Beyond the Pole - inserts, cleanup, ~10 shots
Hush - TV and phone inserts, ~20 shots
The Burial - 2x poster inserts, pre-grade FCP online edit
Exodus - cleanup, hair-in-gate fixes, ~10 shots
Clubbed - blood and gore comps, CGI crying/tears comps, cleanup, ~15 shots
Donkey Punch - rig removal, cosmetic cleanup, retimes, ~15 shots
Arn (and Arn II / Arn TV series) - rig removal, anachronism removal comps and cleanup, ~30 shots
Dangerous Parking - motorway extension comp, rig removal, ~5 shots
Grow Your Own - rig removal, summer-for-winter snow comps, ~5 shots
Roman Mysteries (series 1) - bluescreen dolphin/sea comps, ~5 shots
Burn Up - car window background replacement comps, steam comps, rig removal, ~10 shots
Jonathan Creek - flare cleanup, ~5 shots
Little Dorrit - anachronism removal, ~10 shots
Silent Witness - TV and phone inserts, greenscreen sniper comps, ~5 shots
Cranford - snow, dog urine, cleanup, ~5 shots
Turn of the Screw - CG bumblebee comp, ghost comps, anachronism removal, ~10 shots
Climate of Change - main title design
Arup corporate films - newsroom screen inserts and news bugs, ~15 shots, plus type design and animation
KPMG corporate film - reporter into archive footage comps plus inserts and type design, ~10 shots
Flames of Passion - title design, in-program graphics and film projector animation, ~20 shots
Sky Sports - 3x viral ads, archive footage roto and comps, ~10 shots
Hello Magazine - 2x ads, page and TV inserts, ~10 shots
GMTV Action Stations Scalextric sponsorship spots - animation, type design and cleanup, ~5 shots
2006: Compositor at KMA Creative.
The Christmas Miracle of Jonathan Toomey - 60+ set extension and virtual environment shots, including multipass 3D compositing, extensive keying, matchmoving and workflow setup
2003-2006: BEng (Hons) Electronic Engineering/Music Technology Systems at York University
Although the course was focused on engineering design and audio post-production, my final project was on scientific visualisation, specifically hardware-accelerated rendering of point-based data. Research minisite here and final report here.
2005: Recording engineer at Landscape Studios
Industrial placement year in a recording studio, which included assisting offline edits and FCP training as well as location recording, tracklaying and mixing.