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Honda Jazz was a huge job in which almost every shot required extensive compositing. I completed more than 30 shots for the 60sec spot - mattes for every car, windows, people, bicycles and other elements. A large number of shots required some form of cleanup or wire/rig removal and then compositing reflections and interactive lighting back in.

I also created a rusting street sign from scratch which involved creating and procedurally animating many different mattes and textures to get the desired effect.

The wave of flowers at the beginning of the commercial required me to retime, morph and animate 2D flower footage in order to create a number of specifically timed flower textures that could be projected onto 3D particle placeholders to allow the interaction between the spawning flowers and the wave geometry.

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The Alfa Romeo commercial was created using footage from pre-existing commercials. This meant that mattes for all shots of the car were required so the vehicle could be composited into the new volcanic environment.

Keying was employed in some instances, but most shots required rotoscoping to create the matte shapes. Some shots required additional mattes to assist in grading - particularly mattes for the windows.

The volcano in the end tag required stabilising, keying and retiming so it could be incorporated into the environment seamlessly. A total of 9 shots were completed by me for this spot.

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Ford Focus required all kinds of cleanup and mattes. I completed a total of 17 shots, which required everything from removing large camera rigs to removing wires, a large group of crew members, reflections and cranes.

During the grade, the director decided he wanted a different grade for the car, background and talent. This meant that in addition to cleanup and removal, I also created multiple mattes for a number of shots in order to combine the different graded plates into the one shot.

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My brief for this job was to create a super slow-motion animation of Australian football star Harry Kewell. Two high resolution still images were provided which required a lot of painting and manipulation to get them to a stage where they could be seamlessly morphed between.

Many 'guide-splines' were created, particularly around the face, to maintain accuracy and detail in the morph. The final full-body shot and matte were completed at HD resolution to allow for flexibility in the framing of the soccer star.

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TCL required me to create the first two shots from scratch. Originally provided with foreground bluescreen plates and background plates on which to composite the football players, many changes and revisions to the shots meant that by the time they were complete, none of the original plates remained. Instead, the shots had been completely recreated using matte paintings I constructed by combining and colour correcting many different layers.

The background of the first shot was filmed at an ocean pool in Sydney, so the pool edge had to be removed and the pool joined seamlessly to the ocean. The people, pool ladder and reflections also had to be removed, as well as buildings on the headland in the distance. The final plate was combined with the footballer, 3D soccerball and various layers of splashes (stock footage, splashes we filmed in the carpark and 3D fluid effects) before added reflections and ripples completed the scene.

The second shot was built using cloud layers, multiple grass layers, various layers of 3D flowers and stills of flowers before shadows were added back in and the finishing touches added.

In addition to the first two shots, I also created seven mattes which were used for compositing the other shots of the footballers which occured throughout the commercial. I also modelled a highly detailed 3D soccer ball which was used in the commercial.

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I composited the entire Lotto Marlin tvc. This involved setting the look, integrating the 3D elements and creating transitions, water, sky, clouds and 'ball explosion' effect.

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In order to create the shaking vitamin bottles, a metal ruler had been placed under the corner in each shot. The vibrating ruler then had to be removed and the shadows, lighting and reflections touched up to sell the effect.

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These hilarious series of virals required all kinds of clean up work and enhancement. From wire removal and blending of shots in the car-hit version to removing the arm and tracking in grass behind in the dog-bite version.

The 'Stunt Mail' logo was also composited in to a number of shots - on the side of the truck in the motorbike-through-window version and onto the side of the van in the 'car-hit'.

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TAB was a mammoth job which required horrible archival footage of horse racing to be rotoscoped to isolate horses which could be composited into their new scenes. A total of 1636 frames were rotoscoped, many by hand as the intense motion and crowd background meant that keying ability was very limited. All these horses were combined to create the 11 horse shots which appear in the commercial.

Some touchup work was also required to remove barriers and poles in the ground on the few shots which retained some of the original plates.

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