Planet of the Apes: Last Frontier - The Imaginati Studios
Role: Virtual Cinematography.
Working on a purely cinematic story driven game my job was to implement film quality virtual cinematography, working from storyboard to final end production. Creating a cinematic pipeline within the Unreal 4 engine I built the scenes using motion capture data.
Total War: WARHAMMER - Creative Assembly SEGA
Role: Senior Cinematic Artist.
Using in-game tools to implement virtual cinematography. Working from storyboard to final production. As well as directing the motion capture session, I implemented the sets, lighting, virtual camera and post production colour correction.
The Witcher 3: Wild Hunt - CD Projekt Red
Role: Senior Cinematic Artist.
Implementing virtual cinematography & lighting into final cutscenes/trailers. Using motion builder to finalize and polish cameras as well as performance capture clean up.
Homefront 2 - CRYTEK & Deep Silver
Role: Virtual DP / Lead Cinematic Artist.
I was the Lead Cinematic Artist & Director of Photography for 'Homefront 2', we shot the Performance Capture session at ' The Imaginarium Studios' at Ealing Studios to capture both movement and facial animation with 5+ actors.
I operated a virtual camera on a motion capture stage for the trailer below from previz to final. I also lead a cinematic art team of 5 artists, creating storyboards, previz and shot direction.
RYSE: Son of Rome - CRYTEK / MICROSOFT STUDIOS.
Role: Lead Cinematic Artist.
My job on 'RYSE: Son of Rome' was to make our cinematic directors vision come to life. Implementing high quality cinematography, video editing managing assets, filming interviews and coordinating with cinematic animators and tech artists. All this while maintaining my scenes at a high studio quality. A strong understanding of composition in film was essential. Below is the showreel from my work on the game 'RYSE: Son of Rome' - I created and worked on all aspects of the camera, from the lens choices, depth of field and camera animation. I set up all scenes and directed aspects of the individual cut scenes.
Mass Effect 2 - BIOWARE/EA GAMES.
Role: Cutscene Artist.
I directed camera and digital action into Mass Effect 2's cut scenes, implementing conversations and narrative related content in the game, using Unreal engine and 3DMax as part of my workflow.
ONE - Personal Project
This was a project filmed without any use of in-game tools, just pure in-game footage using Battlefield 3. It was all filmed live while I directed over 30 actors over 4 months. I really wanted to challenge myself to see what I could do without the use of in-game tools. It has reached over 3 million views on YouTube since it's release.
We're at War - Personal Project
The style is completely free as if a combat cameraman captured the fighting as it happened. Nothing was planned or staged. I edited this piece using old WW2 news reports, It was filmed inside of Planetside 2.
Battlefield 3: Moments - Collective London/EA Games
I was contracted by EA Games and Collective London to re-create some of the best 'Battlefield 3 Moments' in a short cinematic piece. I directed, filmed & edited the video in one week. No in-game tools were used. Not only did this video help EA games be crowned Social Brand of the Year, it also was a finalist in the MW Engage awards.
War Correspondent - Sony Online Entertainment
I was contracted by SOE to produce 8 episodes after I created We're at War. I voiced, edited and filmed all Episodes. The style is completely free as if a news reporter was in among the battles. It was all filmed 'as it happened'. Using strong photography and narrative editing.
Shogun 2 & Napoleon Total War - Creative Assembly SEGA
Role: Cinematic Artist
My job on the Total War series was to create marketing trailers, film & edit 'battle reports' as well as to direct the losing in-game cut-scenes. I added all animation & prop assets in the scene including final cameras and editing. Below is one of many lose scenes I created for Shogun 2.
The Perfect War - Personal Project.
Using Empire:Total War I filmed a short piece. I wanted to see what I could do without tools inside of the engine. Everything is filmed 'live' as it happened.
ARRI - Film/TV work.
Role: Camera Operator
I worked freelance on projects to keep up to date with the film industries ever changing technology, I worked with the ARRI 235, ARRI Alexa and Sony Cameras. These are a few projects I worked on.:
The Dark Knight - Second Unit: Camera Grip.
Pirates of the Caribbean: On Stranger Tides - Camera Jib Operator. UK UNIT
Transformers: Revenge of the Fallen - 1st Assistant Camera.
World War Z - EPK.
The Bray's - Music Video - EPK.
Harry Potter & The Deathly Hallows: Part 1 - EPK.
Andy McNab's: Tour of Duty - "Ambush" - Camera Operator.
Weaponology - Season 2 Episode 12 ''Spetsnaz'' - Camera Assistant.
Lit Fuse Films - Personal Work
I co created Lit Fuse Films in 2007 with a group of talented friends. We mostly used Source Engine to create in-game movies. Each member had their own talent while creating each high quality 'Machinima' (Filming within a 3D engine) - We worked very well as a team and dedicated ourselves to each project we made together. We won 2 awards for best film at The BitFilm awards in Hamburg and best audio at the New York Machinima Festival. Below is the website where our work is stored: