How these shots
were actually made
Not showreels. Each one is broken down a step at a time: what move was made, why, the element it produced, and the exact prompt behind it. Some were built in Nuke and ship the project to open; some were built in Studio and open as a live node graph.
Night city, armored truck, one continuous take
An 8-second tracking shot: an armored truck drives past a lone bystander under a viaduct, a city glowing on the horizon. Built as a grey 3D blockout in Nuke, then rendered inside the node graph with native audio. An experiment in driving a full shot from a rough previs.
Hero car on a grungy city street
A 4-second orbit-and-push around a sun-faded orange muscle coupe in a daytime back-street. Same idea as the other experiment: a grey 3D previs in Nuke carries the camera move, AI carries the look.
A stadium that was never that full, a kit that never existed
A 9-second match-day shot at BC Place: an athlete celebrating in the foreground, a packed red-and-white crowd behind him. The plate is real footage of one person. Everything else, the kit he is wearing, the crowd in the stands, the stadium without its jumbotron, was built as a separate element first and only then assembled. Built in Studio rather than Nuke, so the whole node graph is open to read.
A grey playblast, rendered without a renderer
A 12-second animation shot that starts as a raw untextured playblast: correct performance, correct camera, no lighting, no materials, no set dressing. Nothing here is re-animated. The playblast keeps the acting and the camera exactly as blocked, and everything a render farm would normally spend hours on is generated as reference and applied on top. Built in Studio, so the whole node graph is open to read.
A green screen, and the street that was never there
A four-second driving shot: two actors in a car, licensed green-screen footage, and a city avenue that does not exist. The performance, the camera and the light on their faces are all real and untouched. Everything beyond the glass is generated, and the whole job is making one belong to the other. Built in Nuke, and the project downloads with every frame it reads.
A short film, designed on paper before a single shot moved
An unfinished noir comedy about a burglar who picks the wrong house, because the smart speaker on the side table has opinions. Fourteen shots exist as approved stills, five of them animate, and there is no cut yet. It is on this page precisely because it is unfinished: it shows the order the work has to happen in, and it shows what the assembly still costs after every shot looks right on its own.
Design the character, dress him, build his room, then make him work out
A ninety-second film about a man in a headband who has decided that today is the day. He does not exist and neither does his living room, and both had to be designed and written down before a single frame moved. The order is the whole lesson: by the time anything is animated, what he looks like and what the room looks like have already been settled, so the only thing left to get wrong is the acting.
Client work: a real product, dropped into weddings that never happened
Chirpy Cheer rent out audio guest books: a vintage rotary telephone that sits on a table at a wedding or an event so guests can leave a voice message instead of writing in a book, hired for the day and returned afterwards with the recordings. They are a client, and this is their product, photographed by them. The problem was that they had a product and no footage of it in use, because the events it goes out to are private and you cannot send a crew to somebody's wedding on the off chance. So the receptions were generated around the real telephone. Some of it worked immediately. Plenty of it did not, and the notes from those failures are on this page too, because they are the useful part.
One photo, a 140 degree macro traverse
A 4-second macro probe-lens move down a model-maker's workbench and around a small rocket. Nothing here was filmed and there is no 3D set: the whole shot starts as a single generated still, and the camera move is real geometry derived from that one frame.
A four-second face replacement: her performance, someone else's head
Licensed footage of a rhythmic gymnast, and one studio portrait of a different person. The performance, the camera and the timing all stay hers; the head becomes theirs, hair included. The interesting part is not the swap, it is that a ribbon crosses her face twice in four seconds and her own forearm crosses it once.
About these projects
These are experiments, not polished deliverables, and they are shown with their working rather than only their results. A Nuke project downloads as the real script with every piece of media it references, so it opens and plays anywhere. A Studio project opens as the live graph with every node still carrying its own output, so you can read the whole pipeline without running anything.