Showreel 2026 · shot by shot

Showreel breakdown

50 shots in two minutes and fifty seconds go by fast. Here the reel slows down: press play and the panel next to it tells you, shot by shot, which production it is, which studio I was at and what I did on it. Or pick a logo, a technique or a timecode and jump straight there.

• 50shots in the reel
• 26feature films on IMDb
• 10series on IMDb
• 10VFX studios in the reel

1. PlateComp

   Shot 01 On screen

   Fast X

   DNEG · Compositor

   • Deep comp
   • CG render
   • Keying

   • Hero shots: the truck and the bike integrated into the CG environment
   • Replaced the top and the bottom of the truck

   The hard part

   • Keeping as much of the original plates as possible: the background is full CG, but the rider and the truck come from two different plates and had to become one
   • Parts of the truck and of the bike had to stay from the plate, with 2D elements added to blend everything together

   00:0400:0600:07
2. Shot 02 On screen

   The Marvels

   Trixter · Compositor

   • Deep comp
   • CG render

   • Shot taken to final: most of the work went into the environment and the characters
   • Improved the blast and its impact on the ground

   The hard part

   • Managing all the FX elements in the script: my part was the interaction with the soldiers and their integration
   • Several versions of the FX, with different variants and colours
   • Improved the distortion and the lens effects generated by the explosion

   00:15
3. Shot 03 Aquaman and the Lost Kingdom On screen

   Aquaman and the Lost Kingdom

   DNEG · Compositor

   • Deep comp
   • CG render
   • Keying

   • All aspects: the actor integrated with the CG environment and the robot
   • Added 2D elements of water and smoke

   The hard part

   • A very tight schedule, right before delivery
   • Only the rocks and the actor are real: the robot and the water are full CG
   • The actor had to sit in the light coming from the robot: volume and light rays were all built in comp

   00:20
4. Shot 04 On screen

   The Last of Us, season 2

   Weta FX · Senior Compositor

   • Deep comp
   • CG render

   • All aspects: CG characters and set extension
   • Deep compositing of atmosphere, snow, blood and muzzle flashes

   The hard part

   • Some of the infected are in the plate and many others are CG: each CG one needed its own integration to match
   • Falling snow, wind and the blizzard atmosphere had to go over plate and CG elements alike, and stay consistent

   00:2300:2500:2600:27
5. Shot 05 On screen

   Stranger Things 5

   The Yard · Compositor

   • Deep comp
   • CG render
   • Keying
   • Prep

   • All aspects except tracking: keying and roto
   • Set extension of the plate with a CG environment: canyon, trees and ground

   The hard part

   • The kids run in front of a badly degraded blue screen: the key was unusable, so the edges came from roto
   • Kept as much as possible of the real leaves and trees from the plate, with luma keys and roto
   • Edge work on the kids, in a shot full of fast movement

   00:28
6. Shot 06 On screen

   Stranger Things 5

   The Yard · Compositor

   • Deep comp
   • CG render
   • Keying

   • All aspects: keying and set extension
   • Added spores, windows and interactive light from the Upside Down

   The hard part

   • A car shot: everything outside the windows is comp
   • The exterior had to follow the set lighting on the kids, so that inside and outside share the same light
   • Integration of the glass, with the effects on it and the particles

   00:3100:33
7. PlateComp

   Shot 07 On screen

   Captain Marvel

   Trixter · Compositor

   • Deep comp
   • CG render
   • Prep

   • Lightning integrated into the plate
   • Built the energy core on the sticks
   • Interactive light on characters and objects, in 2D and 3D
   • CG handcuffs and their heat look
   • Masks to isolate each character from the background

   The hard part

   • Designing complex lightning in line with the Marvel style
   • A believable light interaction between every element, mixing 2D and 3D
   • Giving the feeling of power coming out of the sticks
   • Holding back on lens effects, to keep the image clean

   00:34
8. Shot 08 On screen

   Dune: Part Two

   DNEG · Compositor

   • Deep comp
   • CG render

   • Helmet integration
   • Improved the edges between plate and CG
   • Improved the blue eyes

   The hard part

   • Helmet and body are full CG, while as much as possible of his real head had to stay
   • The helmet in the plate did not match the CG one: I rebuilt contact shadows and occlusion on his face
   • Worked alongside another artist, who took care of the background

   00:40
9. Shot 09 On screen

   The Marvels

   Trixter · Compositor

   • Deep comp
   • CG render

   • First lookdev versions of the switch between characters
   • Integrated the CG door and room
   • Shot not finalized by me

   The hard part

   • The transformation was designed by another studio: we had to match their template
   • It happens in very few frames, and each frame had to hit a precise step of the switch between the two characters
   • A lot of paint to blend the plate character into the CG one, and the CG one back into the plate

   00:42
10. PlateComp

    Shot 10 On screen

    The Last of Us, season 2

    Weta FX · Senior Compositor

    • Deep comp
    • CG render
    • Prep

    • All aspects: CG characters and the Bloater integrated with the real actors
    • Used AI for roto and depth

    The hard part

    • The Bloater had to match every other shot of the sequence
    • Half of the running infected are real and half are CG, and the animation ignored where the real ones stood in 3D space: in comp we decided who goes in front and who behind
    • Machine learning tools extracted a matte for each person; converted to deep, those mattes cut the snow, the smoke and the atmosphere around everyone

    00:4400:4600:50
11. Shot 11 Fountain of Youth On screen

    Fountain of Youth

    Weta FX · Senior Compositor

    • Deep comp
    • CG render

    • All aspects: CG water and tendrils integration
    • Interactive light and subsurface scattering on hands and skin
    • Reflections on the glasses, inside the mouth, on neck and hands

    The hard part

    • My first project at Weta FX: a new pipeline and deep compositing tools very different from the ones I was used to
    • Integrating the FX and relighting the surroundings
    • The water had to travel through the mouth and down the throat, as if the character were drinking it

    00:5200:53
12. Shot 12 On screen

    Stranger Things 5

    The Yard · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and set extension with a CG environment

    The hard part

    • A long shot, shortened in the reel
    • A hard key: a focus change, characters crossing in front of each other and a very overexposed plate, all of it showing on the edges

    00:56
13. Shot 13 On screen

    Coyote vs. Acme

    DNEG · Compositor

    • Deep comp
    • CG render

    • All aspects: full CG shots

    The hard part

    • Full CG: cartoon characters in a desert that had to look almost real
    • The pen-like outlines on the characters were not continuous: fixed with paint in comp

    01:0001:0201:03
14. PlateComp

    Shot 14 On screen

    The Last of Us, season 2

    Weta FX · Senior Compositor

    • Deep comp
    • CG render

    • Shot taken to final: improved the whole shot and the CG character integration
    • Set extension, atmosphere, snow and blood

    The hard part

    • Characters and CG blood all had to interact: nothing here is a 2D element
    • Blood splashes, falls and leaves a stain on the ground, and the next character walks over it

    01:05
15. Shot 15 On screen

    Stranger Things 5

    The Yard · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and set extension with a CG environment

    01:0901:10
16. Shot 16 On screen

    Stranger Things 5

    The Yard · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and set extension with a CG environment

    01:11
17. Shot 17 On screen

    Stranger Things 5

    The Yard · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and set extension with a CG environment

    01:1301:14
18. Shot 18 On screen

    Maleficent: Mistress of Evil

    MPC · Compositor

    • Deep comp
    • CG render
    • Keying

    • Ash and the golden magic effect integrated into live action
    • The effect interacts with the ash, which picks up glow and incandescence

    The hard part

    • Built the template for the golden magic of Maleficent's resurrection
    • The ash had to react to the effect: hotter and glowing in the core, while keeping a natural vortex
    • The template script was shared with the other artists on the sequence

    This script later became my EdgeDetect PRO gizmo

    01:1501:18
19. Shot 19 The School for Good and Evil On screen

    The School for Good and Evil

    Framestore · Compositor

    • Deep comp
    • CG render

    • Integrated the creature into the scene
    • Addressed notes up to 90% of the final result; shot not finalized by me

    01:19
20. Shot 20 On screen

    The Marvels

    Trixter · Compositor

    • Deep comp
    • CG render

    • All aspects: full CG bodies and environment
    • Integrated the CG face of the actress and the repo

    01:21
21. Shot 21 The School for Good and Evil On screen

    The School for Good and Evil

    Framestore · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and despill, set extension with deep compositing
    • Integrated 3D and 2D smoke elements, warped the wolves
    • Full CG shot of castle and garden: added noise and texture on the walls, and 2D smoke

    The hard part

    • Blending the plate (bottom left: wolves, characters and part of the water) with a full CG environment
    • A fairly extreme camera move that travels up to the castle

    01:2301:27
22. Shot 22 On screen

    Fast X

    DNEG · Compositor

    • Deep comp
    • CG render
    • Prep

    • Hero shots: extra CG characters and 2D fire integration
    • Replaced the orange car, plus minor details
    • All aspects except the repo: added the CG window and integrated the inside of the car

    01:2901:30
23. Shot 23 On screen

    Fast X

    DNEG · Compositor

    • Deep comp
    • CG render
    • Prep

    • All aspects: replaced the upper part of the truck and the faces of the actors

    The hard part

    • The actors are real: only their faces were replaced, with CG doubles helping in a few parts
    • The truck was fully replaced, because the real one was covered in crash mats
    • The change of perspective on the truck: the CG needed a lot of help to sit in the plate

    01:33
24. Shot 24 On screen

    The Marvels

    Trixter · Compositor

    • Deep comp
    • CG render

    • First lookdev versions of the switch between characters
    • Shot not finalized by me

    The hard part

    • The transformation was designed by another studio: we had to match their template
    • It happens in very few frames, and each frame had to hit a precise step of the switch between the two characters
    • A lot of paint to blend the plate character into the CG one, and the CG one back into the plate

    01:34
25. PlateComp

    Shot 25 On screen

    Fast X

    DNEG · Compositor

    • Deep comp
    • CG render

    • All aspects: set extension and integration of CG cars

    01:36
26. Shot 26 Fountain of Youth On screen

    Fountain of Youth

    Weta FX · Senior Compositor

    • Deep comp
    • CG render

    • All aspects: CG water and character integration
    • Added 2D elements to sit the water into the plate

    01:38
27. Shot 27 Fountain of Youth On screen

    Fountain of Youth

    Weta FX · Senior Compositor

    • Deep comp
    • CG render

    • All aspects: screen-left plate integrated with a screen-right CG environment
    • Added 2D elements and CG smoke
    • Full CG shot

    01:4001:42
28. Shot 28 On screen

    Stranger Things 5

    The Yard · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and set extension with a CG environment

    01:4401:46
29. Shot 29 On screen

    No Time To Die

    Framestore · Compositor

    • Keying
    • Prep

    • Keying and despill
    • Removed the lamp from the set and replaced it with the sun
    • Integration of plate and matte painting
    • Built a second lens flare, from the sun reflecting on the water

    The hard part

    • Recreating the second lens flare, made harder by the moving door
    • A big focus pull mid-shot, from the background through the windows to James Bond. The anamorphic lens distorted the matchmove a lot: we fixed the movement in comp
    • Shot on film, with very present grain

    01:47
30. Shot 30 On screen

    Captain Marvel

    Trixter · Compositor

    • Deep comp
    • CG render
    • Prep

    • Lightning integrated into the plate
    • Built the energy core on the sticks, mixing 2D and 3D
    • Interactive light on characters and objects
    • CG handcuffs and their heat look
    • Improved the prep and roto from another artist

    The hard part

    • Prep and roto: a massive cleanup. Removed the mattress from the set and rebuilt the ground with the shadows of the characters; removed the cables from the actor and rebuilt the body
    • The light from the lightning changed the lighting of the whole shot
    • At the end, a retime to speed up the impact

    01:55
31. Shot 31 On screen

    The Last of Us, season 2

    Weta FX · Senior Compositor

    • Deep comp
    • CG render

    • Shot taken to final: improved the whole shot and the CG character integration
    • Timing, shadows and reflections

    The hard part

    • A very dark, underexposed shot: it had to be lifted, at the risk of pulling noise out of the darkest areas

    01:57
32. Shot 32 On screen

    Fast X

    DNEG · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and despill, added CG environments
    • Camera shake and integration

    01:5902:01
33. Shot 33 On screen

    Fast X

    DNEG · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: keying and despill, CG environments, camera shake and reflections on the windows
    • Added fake reflections on the window to cover the driver's face

    02:0202:04
34. Shot 34 On screen

    Fast X

    DNEG · Compositor

    • Prep

    • All aspects: keying and despill, added CG environments
    • Camera shake and reflections on the windows

    02:03
35. Shot 35 Strays On screen

    Strays

    Cinesite · Compositor

    • Deep comp
    • CG render

    • All aspects: hero shot and lookdev of the dogs' CG mouths

    02:04
36. Shot 36 The School for Good and Evil On screen

    The School for Good and Evil

    Framestore · Compositor

    • Deep comp
    • CG render
    • Keying

    • Improved the integration of the background elements
    • Improved key and despill on the characters
    • Comped the bird and added extra animation

    02:06
37. Shot 37 On screen

    House of the Dragon, season 2

    Pixomondo · Compositor

    • Deep comp
    • CG render

    • All aspects: full CG shot, with the environment from Unreal Engine
    • Added the sun in comp

    02:08
38. Shot 38 On screen

    Maleficent: Mistress of Evil

    MPC · Compositor

    • Deep comp
    • CG render
    • Keying

    • Finalization: improved the switch between the real face of Angelina Jolie and her CG double
    • Integration of CG background and green FX
    • Re-racked the scene to stabilize the camera
    • Shot done with another artist

    02:11
39. Shot 39 The School for Good and Evil On screen

    The School for Good and Evil

    Framestore · Compositor

    • Deep comp
    • CG render
    • Keying

    • Key shot, all aspects: keying and despill
    • Interactive light created entirely in comp, with 2D techniques and KeenTools

    02:13
40. Shot 40 The School for Good and Evil On screen

    The School for Good and Evil

    Framestore · Compositor

    • Deep comp
    • CG render

    • All aspects: full CG shot
    • Keying and despill of the splash, 2D and 3D water blended together

    02:16
41. Shot 41 On screen

    Maleficent: Mistress of Evil

    MPC · Compositor

    • Deep comp
    • CG render
    • Keying

    • Keying and despill of the actors and the foreground
    • Golden magic effect integrated with the template used across the sequence

    02:18
42. Shot 42 The Hand of God On screen

    The Hand of God

    Chromatica · Compositor

    • CG render
    • Prep

    • Shot from the trailer: integration of the firework
    • Comped the second half of the shot, after the explosion
    • Added extra trails and particles to give the trails more volume
    • The director wanted it simple: no camera shake, no flare

    02:19
43. Shot 43 On screen

    Cats

    MPC · Key Compositor

    • Deep comp
    • CG render
    • Prep

    • Integration of Bombalurina and 32 CG cats, matching the lighting on the actors
    • Deep compositing for the holdouts
    • Restored faces, hands and shadows of the real actors
    • FX integration and set extension of the theatre
    • Shots done with other artists

    The hard part

    • Each of the 32 cats came as 5 deep elements (body skin, body groom, hands, hand groom, tail): I split the cats into 5 scripts by distance from camera
    • A strong change of perspective, with the CG character touching real objects: warping done with an STMap
    • Lighting and shadows had to match Taylor Swift perfectly

    How an STMap warp works

    02:2202:24
44. Shot 44 On screen

    Captain Marvel

    Trixter · Compositor

    • Deep comp
    • CG render
    • Prep

    • The mindfrack effect integrated with the plate of the actress
    • Interactive light on Captain Marvel, with a fake subsurface scatter on the skin
    • Lens flares
    • Prep and roto of the whole shots

    The hard part

    • Keeping the effect consistent across the whole sequence
    • Adapting the template to every shot
    • Extracting skin detail to build a fake SSS result

    02:2602:27
45. PlateComp

    Shot 45 On screen

    Captain Marvel

    Trixter · Compositor

    • Deep comp
    • CG render
    • Keying
    • Prep

    • CG cat integrated with deep compositing, for the holdout with the console
    • CG cat and hand integration; colour correction on the alien's face with KeenTools FaceTracker
    • Keying of the windows and set extension
    • Retime on Samuel L. Jackson; painted out the puppet and restored his body

    The hard part

    • The sequence cuts between the real cat and the CG one: the CG cat had to match the real one exactly
    • Fixing artifacts on the actor's face while keeping the detail
    • The plan was to keep the actor's real hand, then the CG approach was preferred

    02:2802:31
46. Shot 46 On screen

    House of the Dragon, season 2

    Pixomondo · Compositor

    • Deep comp
    • CG render
    • Prep

    • All aspects: set extension of forest, castle and sky
    • Soldiers from different plates

    02:34
47. PlateComp

    Shot 47 On screen

    The Nevers

    EDI · Compositor

    • CG render
    • Keying
    • Prep

    • Keyed the blue screen in the background
    • Integrated the matte painting and replaced the bush
    • Restored vegetation from the behind-the-scenes photos, and the reflection on the glass

    The hard part

    • Keeping the big bloom of the set believable: the sky was overexposed and everything in front of it was strongly backlit
    • Restored detail on those elements and darkened the brightest ones, such as the carriage and the coachman
    • I built a template for the sequence

    02:36
48. Shot 48 Aquaman and the Lost Kingdom On screen

    Aquaman and the Lost Kingdom

    DNEG · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: the actors integrated into a full CG environment
    • Added snow and breath

    02:38
49. Shot 49 The School for Good and Evil On screen

    The School for Good and Evil

    Framestore · Compositor

    • Deep comp
    • CG render
    • Keying

    • All aspects: integrated the smoke creature into the scene
    • Created the matte painting for the background behind the door

    02:41
50. Shot 50 The School for Good and Evil On screen

    The School for Good and Evil

    Framestore · Compositor

    • Deep comp
    • CG render

    • All aspects: integrated the bird and the characters into the scene
    • Colour corrected the original plate and added extra camera movement

    02:43

1. Shot 51 On screen

   Captain Marvel

   Trixter · Compositor

   • Deep comp
   • CG render
   • Prep

   • CG alien face blended with the real actor
   • Integration of the mindfrack FX
   • Monitors and controls integrated in the background
   • Prep and roto for all the characters and panels

   From my earlier breakdown, not in the 2026 reel
2. Shot 52 On screen

   Captain Marvel

   Trixter · Compositor

   • Deep comp
   • CG render
   • Prep

   • Integration of the CG cat
   • Prep: removed the puppet used on set, then rebuilt the background and the alien's body with elements from this and other shots

   From my earlier breakdown, not in the 2026 reel
3. Shot 53 On screen

   Captain Marvel

   Trixter · Compositor

   • Deep comp
   • CG render

   • CG cat integration
   • Matched the shadow of the cat to the ones in the plate
   • Blue light on screen left, for continuity

   From my earlier breakdown, not in the 2026 reel
4. Shot 54 On screen

   Captain Marvel

   Trixter · Compositor

   • Deep comp
   • CG render
   • Prep

   • 2D floating hair to simulate zero gravity
   • Integrated CG objects

   The hard part

   • Floating hair made from the plate alone: extracted about 20 strands, animated each with a SplineWarp, applied the head track and merged them over the plate
   • Recreated shadows and reflections on the strands, following the movement

   From my earlier breakdown, not in the 2026 reel
5. Shot 55 On screen

   No Time To Die

   Framestore · Compositor

   • Prep

   • Removed the lamp from the plate
   • Brought in the sun, recreated the forest and the lens flare
   • Fixed the reflection on the car

   From my earlier breakdown, not in the 2026 reel
6. Shot 56 On screen

   No Time To Die

   Framestore · Compositor

   • Keying

   • Keying and despill
   • Integrated matte painting and footage with the plate
   • Fixed artifacts on the curtains

   From my earlier breakdown, not in the 2026 reel
7. Shot 57 The Hand of God On screen

   The Hand of God

   Chromatica · Compositor

   • CG render
   • Prep

   • Sequence lead of the stadium sequence
   • Removed the original stadium and the balls from the plate
   • Integrated the CG stadium, balls and net
   • Roto of the characters

   The hard part

   • Recreating the Naples stadium in every detail
   • Consistency across the whole sequence: stadium, kicked balls and position of the players

   From my earlier breakdown, not in the 2026 reel
8. Shot 58 On screen

   Cats

   MPC · Key Compositor

   • Deep comp
   • CG render

   • CG cats integrated, matching the lighting on the actors
   • Integrated glowing FX
   • Restored faces and hands of the real actors
   • Integrated the CG ceiling and fixed the shadows of the cats to match the real ones

   The hard part

   • Warping the CG cats to fit hands and faces of the actors exactly
   • The director wanted lights, shadows and skin imperfections of the real actors matched perfectly

   For this I wrote the RotoPaint Transform gizmo

   From my earlier breakdown, not in the 2026 reel
9. Shot 59 On screen

   Maleficent: Mistress of Evil

   MPC · Compositor

   • Deep comp
   • CG render
   • Keying

   • Set extension: CG background with deep compositing
   • Recreated Maleficent in Nuke, taking her from another shot
   • Smoke and haze as 2D elements
   • Keying and despill of the foreground plate

   From my earlier breakdown, not in the 2026 reel
10. Shot 60 On screen

    The Nevers

    EDI · Compositor

    • CG render

    • Replaced the background house, the plants and the street
    • Episode 3, nominated at the 2021 Emmy Awards

    The hard part

    • Merging real and CG elements
    • Selling the realism with details and artifacts, across different materials and textures
    • Keeping as much detail as possible from the plate

    From my earlier breakdown, not in the 2026 reel
11. Shot 61 The Kangaroo Chronicles On screen

    The Kangaroo Chronicles

    Trixter · Compositor

    • Deep comp
    • CG render
    • Prep

    • Removed the actor and restored background and reflections
    • Recreated the bowl with the liquid inside
    • Slap comp of the CG for the first lookdev of the show
    • Shot not finalized by me

    From my earlier breakdown, not in the 2026 reel
12. Shot 62 Brightburn On screen

    Brightburn

    Trixter · Compositor

    • Keying
    • Prep

    • Keying and prep of the green screen
    • Painted through transparent objects to remove cables and explosion debris from the set
    • Shot not finalized by me

    From my earlier breakdown, not in the 2026 reel
13. Shot 63 Brightburn On screen

    Brightburn

    Trixter · Compositor

    • Keying
    • Prep

    • Keying and prep of the green screen
    • Removed markers and cables around the actors
    • Shot not finalized by me

    From my earlier breakdown, not in the 2026 reel
14. Shot 64 Guns Akimbo On screen

    Guns Akimbo

    Trixter · Compositor

    • Prep

    • Masks and cleanup of the background for the set extension
    • Changed the colour of the traffic light
    • Shot not finalized by me

    From my earlier breakdown, not in the 2026 reel
15. Shot 65 Guns Akimbo On screen

    Guns Akimbo

    Trixter · Compositor

    • Keying
    • Prep

    • Keying of the actors, their props and elements from the plate
    • Refined edges and transparent objects such as glass
    • Removed cables from the actors
    • Shots not finalized by me

    The hard part

    • Removed the smoke of the explosion from the set
    • Mixed glass elements with the plate of the actor

    From my earlier breakdown, not in the 2026 reel
16. Shot 66 Non mi uccidere On screen

    Non mi uccidere

    Chromatica · Compositor

    • Prep

    • Comp of 2D blood elements
    • Comp of the muzzle flash of the gun

    The hard part

    • All the blood in this sequence was done in comp
    • Tracking with SmartVector on clothes and carpet and 2D tracks on floor and walls, fixing the artifacts with the STMap method
    • Keeping the blood spots consistent across the whole sequence

    From my earlier breakdown, not in the 2026 reel
17. Shot 67 Non mi uccidere On screen

    Non mi uccidere

    Chromatica · Compositor

    • Prep

    • Removed the air bubbles coming out of mouth and nose
    • Kept camera movement, wave distortion and facial expressions

    The hard part

    • Building a clean plate of the face: the bubbles were distorting it
    • A mix of Kronos and SmartVector gave a good clean plate
    • Water distortion and reflections re-applied on top, following the footage

    From my earlier breakdown, not in the 2026 reel
18. Shot 68 On screen

    PAT the Dog

    Animoka · Compositor

    • CG render

    • Full CG animated TV series
    • Compositing of the first 2 episodes of the show

    The hard part

    • My first job in the VFX industry
    • Built the template scripts used for all the following episodes, so artists could comp each one quickly and tweak characters and environments

    From my earlier breakdown, not in the 2026 reel

Stills are frames of my showreel; every image belongs to its production and studio and is shown to document my work on the shot. Title logos are trademarks of their owners, loaded from Wikimedia Commons (The Marvels, CC BY-SA 4.0; Coyote vs. Acme, CC BY 4.0; the others public domain as simple wordmarks).