By the mid 90’s post-production special effects for video and cinema were on the cusp of digital intermediaries with advanced solutions from Autodesk’s Flame and Inferno suites.

Many post-production houses sought creative talent to enhance editing services by rivaling competitors with ever more innovative visual effects for ads, music videos, and short films.

At that time I was living in Europe and working on digital special effects for cinema, tv shows, title sequences and adverts in the UK, France, Belgium, Germany, Italy, and Japan. Collaborating with producers, film directors and agencies to bring creative input to storyboards, on-set consultation, editing and motion designs.

Virgin 2000

I collaborated with Why Not Associates to create this title sequence for Virgin Record’s International Music Shareholder’s Convention.

Tube lights were manufactured and filmed in a studio in Soho.

The camera movements were enhanced during editing and the film was given a negative color effect with digital rendering using Inferno.

NTT Thanks Fair

japanese magasine article

I was honored to be the SFX director and designer supervising filming and editing of NTT’s television adverts for their Thanks Fair event featuring the famous pop band SMAP.

We filmed in a studio in Tokyo using a mirrored set with animated lights.

Each band member was only available at different times so we had to combine them digitally with masking, editing and filter effects using Inferno.


I had the privilege of working with a talented team in Belgium for Delvaux’s first film advert which was shown exclusively in movie theatres.

My task was to remove blemishes and unwanted strobing effects in the film.

Plants had been placed under warm studio lighting and filmed using high-speed cameras with macro lenses. Strings and tweezers which held the plants to create the movements and animations needed to be removed.