CURRENT & PAST CLIENTS
In their words
Chris did a great job managing the matchmove work in postvis for Beasts 2 — over 2000 shots in a very short period. He handled quality control on submissions from two outsource vendors as well as the more challenging shots himself… able to troubleshoot problem shots unsupervised. I'd happily work with Chris again.
It was great having Chris oversee the tracking on Fantastic Beasts 2. Well over a thousand shots to be checked and countless problems to fix at the same time. Chris is a rock… helped turn around so many shots in such a short space of time. A pleasure to work with.
Chris has been lovely to work with. Knowledgeable, delivers work ahead of schedule as a default, communicates well… a hard worker and a team player. I would definitely love to work with Chris again.
A dedicated and hard-working artist — productive, and at times the only tracker in the team, getting on with everything he was given. He's always researching new approaches and software to improve workflows, and has gained good on-set and data-gathering experience.
A reliable, valuable, skilled addition to our team. Even when we were pressed for time or facing challenging shots he kept calm and provided step-by-step iterations until the result was very well usable by all departments. As the great team player he is, we welcome him back any time.
For a long time he was the only tracker we had in-house, responsible for every shot through his department. Invaluable on set for photogrammetry and tracking reference, and great at processing it all back at the office… kind, communicative, capable and thorough. I would recommend him for any production.
Chris just swanned in on Napoleon and saved me and the compers all that fiddly work. Wish I had him on this one.
Matchmove, wherever you need it
FGVFX is a specialist service led by someone with substantial production experience, with the ability to scale the resource around the job.
No job is too big or too small — from a single shot to a whole show's worth of tracking to plan, staff and run.
Sometimes you just need someone to take the shots and get them done.
Sometimes you need an experienced matchmove artist sitting inside your production, working directly with your supervisor and departments.
And sometimes you've simply got too much work and not enough people.
That's where FGVFX comes in. I've worked across all three situations — from delivering shots directly, to running matchmove teams within major productions, to overseeing outsourced work and QC'ing it before it makes its way back into the pipeline.
Need a pair of hands?
Send the work over. I'll take care of the tracking, solving and layout and get it back to you ready to use. Straightforward, experienced and without a lot of fuss.
Need someone in the room?
I can work as part of your production team, sitting alongside the VFX supervisor and departments and dealing with matchmove where it actually matters — while the show is being made.
I've done this on large internal productions, including work for Warner Bros., where being there early meant problems with plates, cameras and data could be found and dealt with before they became someone else's problem.
Got more work than people?
This is where things can get interesting. If your facility suddenly has a mountain of tracking work and not enough artists to deal with it, FGVFX can become an extension of your team — putting a team together from artists I know and trust, or working with an outsource vendor you already use.
Give me some lead time and I'll find the right people and get everything set up on our own equipment, so the hardware, network set-up and maintenance are off your plate. FGVFX is a new venture, and the aim is to grow this into a permanent set-up for even quicker turnaround. For now, a little lead time is all it takes to get it running — and once it is, we can get a lot done.
I've managed teams, worked with outsource vendors and QC'd work coming back into production. So if you don't need another artist — you need someone experienced to make sure the whole thing works — that's something I can do too.
However we work together
Your work stays your work.
When you're trusted with unreleased material, protecting it is part of the job.
My systems use encrypted backups, regular virus and malware scanning, properly licensed software and project-isolated storage, with controlled methods of transferring client material. Everything is set up to protect your work from the moment it arrives until it's handed back.
I've worked with unreleased studio material for years, and I'm currently working towards TPN-aligned security practices.
I'll tell you when the numbers don't work.
If a schedule doesn't look achievable, I'll tell you.
I'd rather give you a realistic number at the beginning than agree to something optimistic and create a problem three weeks down the line.
AI & my workflow
AI is here. How do I use it?
For me, AI is a tool — and, like any tool, where and how it is used matters.
The most everyday use is probably the least glamorous: spelling and grammar. I dictate rather than type, so a lot of what I write starts life as a slightly chaotic transcript that AI turns into something readable. It's not perfect — the gremlins still miss the odd word or mangle a sentence — but it means an email from me generally says what I actually meant it to.
Beyond that, I mainly use AI to help develop and improve my own internal pipeline and tools.
It has helped me build systems that speed up repetitive tasks, maintain consistent naming conventions and create delivery packages that follow the same structure every time — something that will probably come as a relief to a few people I've worked with over the years.
I also use it as a development assistant: helping me troubleshoot my own tools, identify errors within the pipeline, and modify or improve those tools as requirements change.
Outside of client work, I use generative AI to explore ideas and create imagery for personal concepts — including some of the images you may see on this website, and occasionally for the considerably less serious purpose of making fun of myself.
But there is a very clear line.
I do not use generative AI to process client imagery or client documentation.
Client plates are not uploaded to or processed by generative AI. AI is not used for tracking, image manipulation, clean-up, compositing, or any other processing of client footage. Client documentation is treated the same way.
Within my production pipeline, any information AI may interact with is limited to non-sensitive operational information — such as naming conventions used to construct and validate file and package structures.
AI helps me build and improve the tools around the work.
It doesn't do the client work.
LET'S BUILD SOMETHING GREAT.
Based in Winchester, Hampshire — about an hour from central London.
Available for on-site work across London and the South, happy to travel further for the right project, and fully set up to work remotely.