A collection of my work from recent years. So happy I got the opportunity to work on all these amazing projects with so many talented artists.

By seamlessly stitching multiple takes of Taylor Swift together into one shot, the compositing team at Framestore was able to bring this fun and exciting spot for Capital One to life.

Remember, it’s just a game. Patrick Mahomes reminds us all that the best advice is usually the simplest: It’s only a kick.

As VFX artists, we're always looking for ways to achieve the impossible while keeping things efficient. Recently, I explored how AI tools can create cinema-quality large-scale water shots—without the need for 3D simulations & rendering.

To demonstrate this, I put together a tsunami supercut. Every shot was created using 2d techniques enhanced by AI to simulate realistic water physics.

The goal? To showcase how we can rethink the pipeline for large-scale FX by leveraging AI, allowing artists to craft epic visuals faster without sacrificing quality.

Netflix teamed up with GM for this Super Bowl spot to show off GMC’s brand new electric vehicle. It was our job to digitally reconstruct the worlds of each show Will Ferrell passes through in his new EV.

By combining a variety of different live action close up shots, the team at BUCK was able to make this fast paced spot for Pepsi flow with a creative combination of compositing, time remapping, and a pinch of animated motion graphics.

To show off Brizo’s newest high end faucet, we created a diverse and colorful palette of CG flowers to populate a series of zero gravity ice, water, and vapor simulations. Created entirely in 3d, this spot features experimental interactions between flora and H20 in all three of its physical states.

Featuring everything from lounges and airplanes to restaurants and alpine adventures, this series of animated vignettes shows off all the possible benefits of Amex platinum.

By 3d tracking a checkered credit card, we were able to add realistic movement to each CG environment and replace the fake card with a shiny Amex platinum. We then used Nuke to properly integrate the CG into the live action plates.

Ben Stiller is having an epic bad golf day in this new spot that aired during the 2024 Masters. Luckily, AT&T is keeping him connected even when he is a little off the green.

To unveil their new “Retro Recipe” cereal variety, General Mills tasked us with creating two fully CG spots that included both 3d and traditional cell animation. Using Maya, Houdini, and Nuke in conjunction, were able fuse 3d animation, simulations, and cell animated content into each cereals stylistically unique vignette.

When Principe asked if we could “Rise Above The Board”, we asked, how high? This project presented an interesting challenge to photograph charcuterie in a way that stood out from the top down crowd. We turned these salumi’s and accoutrements on their head by creating seasonal sculptures to tell the story of the curing process from the autumn harvest to the summer celebration. To be enjoyed with fine wine and even finer friends. Buon Appetito!

In order to immerse viewers into the world of Pokemon, we created a series of CG environments that we combined with live action plates of the actors in a blue screen studio.

This character animated spot for Tezspire takes viewers through a day in the life of a mohawked punk rocker, dog walker, suburban mom, and elderly drag racer. It shows off a wide variety of 3d characters, props, and environments matching the look and feel of an animated feature.

In this trailer for the upcoming release of Dragon’s Dogma 2, the team at Framestore and I used Houdini to create complex simulations of glass shattering and hot metals being forged.

This AT&T spot for the iPhone 15 required heavy amounts of cleanup and set extension to create the look and feel of an airplane cruising at 40,000 feet.

This short spot for White Claw required a creative mix of CG glass renders with live action elements.

Reimagine your music. And your drive. This high-energy Nissan commercial features a variety of seamless sky replacements, screen comps, and expert beauty work on the cars to enhance their sleek design.

Proud to share these spots I worked on for Samsung’s new Galaxy Z Fold6. The first spot, “Circle to Search”, not only required a variety of standard compositing work, but also features a CG animated European Greenfinch. 

For this rendition of the iconic character Tony the Tiger, we created a stylized look that combined a live action feel with the vibrant and colorful tones synonymous with the classic cartoons.

This 60 second spot for Teflon immerses viewers in the miniature worlds within the components of our everyday electronic devices. In order to bring these environments to life, we used Houdini to create a variety of liquid and rigid body simulations. Houdini was also used to generate detailed iterations of reoccurring 3d objects including a cityscape and animated roadways. Using Nuke to composite our renders, we were able to further stylize each shot and transition seamlessly from one microscopic world to the next.

These two 15 second spots featuring Babybel’s famous cheese characters utilized every aspect of the post production pipeline. Character design, animation, FX, environment building, lighting, and compositing all came together to bring the magical Babybel universe to life.

Shot entirely on a green screen stage, this new edition of the Final Four crew required extensive background replacement as well as set extension.

For this Paper and Packaging animated short, we used Nuke to polish and enhance the 3d renders. This helped give the characters and environment a more tactile paper texture and added a layer of detail and realism to the image.

Halo Infinite and Pringles teamed up to create this fully 3d spot which features a fast motion time lapse of a sci-fi world being terraformed.

To show off their brand new electric sedan, Porsche decided to debut their first Super Bowl ad since the 1990’s. This quick cut adrenaline injected spot required a high volume and variety of 2d cleanup as well as CG integration to make the German countryside look as authentic as possible and each vintage Porsche as pristine as could be.

Shot in Mexico City on five sets, over three days, we designed and created these environments from scratch, carefully planning interesting ways to transition from one world to the next. The visuals are inspired by colorful palettes, invisible VFX and a little in-camera trickery.

In this AICP title sequence, swarms of TV screens emerge from subterranean hibernation to fly around downtown Chicago. It required extensive work in all phases of the visual effects pipeline from concept to color. Houdini was used to simulate the flocking behavior of the TVs and Nuke was ultimately used to integrate CG content into each shot. Hope you enjoy

Relying heavily on CG animated content, nearly every shot in this batch of Capital One spots was originally captured entirely on blue screen. Nuke was used to integrate Jeremy (the talent) into various digital worlds composed of matte paintings, Vray renders, and Cinema 4d renders. CGI content was created using a combination of Maya and Houdini. 

Tasked with showing off one of the nation’s biggest coasters, this fully CG spot for Cedar Fair helped bring every loop, twist, and turn to life. Rendering everything with 3ds max and Vray, we used Nuke to enhance the CG and add every bit of detail possible into the composition of each shot.

After receiving the initial storyboards from Capital One’s ad agency DDB, we knew Chasm would be an intense undertaking from a post production standpoint. With a team of over 20 artists, it was our job to storyboard and look develop the aesthetic of the spot before ultimately building Chasm’s mountainous world. Using a combination of Nuke, Maya, Houdini, Flame and other platforms, we were able to turn Samuel L. Jacksons walk across a green screen studio environment into a hazardous death defying stroll across an elevated rock formation.

Using a combination of Maya and Nuke, our team of 3d artists and compositors worked together to combine a variety of quickly animated 3d elements to form the “Plus” logo in this punchy end tag for Amway. Rendered in Vray, we used Nuke to give each object a unique and defined look and feel.

See the Light required a unique fusion of live action footage with CG imagery. Transitioning Jennifer Garner from the cabin of an airliner into a shopping mall meant we needed to shoot on two different locations. Half the spot was shot inside of a fake airplane, the other half in a shopping mall full of extras. Using the airplane set as reference, 3d models were made of the walls, seats, and everything else that needed to be in the shot. Using projection mapping combined with regular live action/CG integration, we were able to composite CG renders of the plane folding down into the floor with a plate of the talent walking through the mall.  

Done using Maya, renders of the cheese wheel, cracker, and bags were blended and composited in Nuke to give everything a more realistic polish.

Done entirely in CG, this spot for Essilor Group tells the story of a young girl’s quest for better eyesight. To make the story come to life, we used to Maya to animate, light, and render 3d content that was eventually composited in Nuke.

To make the Otivin Genie come to life, we rigged and animated a custom made 3d character using Maya and simulated particles based off the 3d characters’ movement using Houdini. We then used Nuke to integrate our genie into live action plates and add an extra layer of sparkle and magic.

To bring one of advertising’s classic characters to life, we used a combination of Maya and Nuke to realistically integrate CG content into live action footage. With green markers covering the Kool Aid man’s plastic costume, we 3D tracked his body, animated his facial expressions, and composited his face back on top in each shot.

Tasked with creating visual representations for all the new and exciting games the North Carolina lottery has to offer, we wanted to make each icon as flashy and engaging as possible. Using Nuke, we were able to combine every render of each icon in a 2d environment and maximize its visual appeal.

By 3d tracking the face and head of the talent in this Claritin spot, we were able to simulate the wavy bounce of a bubble attached to a moving object. From there, a variety of compositing tricks were used to create a detailed mix of colors and textures on the bubbles surface effectively giving it a more realistic feel.

For this cross between two of advertisings’ most recognizable characters, the Kool Aid man was shot on set with Flo and it was our job animate and composite his facial expressions as well as successfully integrate him into this suburban living room environment.

Shot entirely in a studio in front of blue screen, this Capital One spot required a heavy use of CGI and compositing. After building an entire highway in 3d, we used Nuke to effectively make Charles and the crew look like they were holding up traffic on their way to the Final Four.

After being reminded why they bought an SUV in the first place, the Jones family heads off the grid for an outdoor adventure. This spot required a variety of compositing work that included combining footage of the bear with footage of the Jones family in their SUV.