Compositing for film and television

My compositing work includes keying, rotoscoping, paint and cleanup, object removal, tracking, screen replacements and the integration of practical or rendered elements.

A technically correct composite can still feel wrong. I therefore pay close attention to perspective, light, focus, grain, lens behaviour, colour and movement. The aim is to make every element feel as though it was photographed as part of the original shot.

How I work

I began in film production before moving into post-production, 3D and compositing. That background helps me look at the complete scene rather than only the isolated effect, including continuity, editing and what the image is meant to communicate.

I work with Log footage, ACES and colour-managed pipelines, and I keep Nuke scripts organised so that revisions remain practical under television production schedules.

Related areas include visual effects for film and television and 3D integration and multipass compositing.