Selection of projects - with significant creative and technical involvement in production.
Remy Martin - One Life/Live Them with Jeremy Renner - HDR environment panorama
Arrived in LA towards the end of prep.
The VFX were mostly seamless transitions between scenes through continuous camera motion and performance cross over. In addition there was a rooftop sequence, where Jeremy is chased by thugs. The rooftop was a built set at Sony Picture Studios, Culver City.
Following a discussion with Jake and Ryoko (the directors Ne-O), we would need an elevated cityscape backdrop covering at least 220 degrees. The only place with high rise buildings in LA is Downtown. After scouting on Google maps I found a car park - with surrounding buildings a fair distance away (a good thing). Once Jake and Ryoko had signed off the location, I went off with an assistant and filmed on the rooftop in 3 positions - at magic hour and then at dusk. In excess of 500 stills were shot to capture the two 220 degree 24K panorama, with 9 stops HDR latitude.
This 'translight' was shot before we filmed on the rooftop set and before the blocking and chase choreography had been established.
Above is the finished 60". The action was choreographed and filmed AFTER the panorama. Superb transitions and seamless VFX work by Dan Adams and team @ The Mill
I think the panorama is a beautiful thing in it's own right.
Ten Billion - Documentary Feature Film - supervision, concept and storyboard work
Ten Billion - directed by Peter Webber (The Girl with the Pearl Earring/Emperor) - With the world's population heading towards 10 billion, we're having a profound and devastating effect upon the planet. In Ten Billion, Professor Stephen Emmott, Head of Computational Science at Microsoft Research, delivers a stark and forthright message which sets out the unvarnished truth: Earth has a problem, and that problem is us.
Editorially, this powerful film is a presentation to an audience by Prof Stephen Emmott, backed by commissioned motion graphics and strong library footage. Peter wanted the narrative to intercut with the analogy of a huge asteroid hurtling towards Earth - a parallel doomsday scenario, much easier to grasp.
Throughout the film the scene set in outer space is returned to - the narrative for this was developed, designed and supervised by me. I produced a concept image of how we wanted the 1 minute sequence to look and a storyboard of shots. The budget was tight, so it was vital to be clear about what we wanted.