Animation

Digital doubles of Custode and the pirates, rigged from character scans and animated to match on-set blocking. Handed to the FX team for a Houdini fragmentation and soft-tissue destruction sequence. CG rowboat sequence with digital double pirates navigating a coral reef across multiple shots.

Leech population procedurally placed across a decomposing body using Houdini, with hero leeches individually animated where the camera demanded it. Rapid CG plant growth from a skeletal body — Houdini FX with real-world time-lapse and documentary footage as reference throughout.

Four fully CG shark species animated for close-proximity interaction with actors. AI face replacement on surfing sequences: photogrammetry scan of the lead actor integrated via face-swap so the surfer in stock footage becomes the character.

Animation across the studio's largest engagement with the NCIS franchise — 500+ shots spanning action sequences and the series' ongoing visual effects requirements.

Three CG aircraft animated across a climactic WWII rescue sequence — a C-47 performing a glider pickup, a Japanese Zero, and a CG glider extended from a partial set build. Photographically accurate propeller motion blur across all three vehicles. Houdini FX for the tow cable, vegetation and a signal flare.

Recurring dream sequences — a Holden Kingswood floating in space, combining blue screen extraction with full CG environments for wide shots. The Blue Wren: a fully CG Splendid Fairy-wren appearing as an omen across multiple episodes, rigged and animated from production reference photography and video.

A photorealistic CG cow matched to the production animal from live-action reference footage — deployed across indoor, outdoor and water tank environments wherever working with the live animal wasn't practical.

A CG rat rigged and animated in Maya. A demon possum built from a production base mesh, rigged for fur simulation in Houdini FX, with a wet groom designed specifically for the rain environment. Both creatures animated to carry the intentionality of human minds inside animal bodies.

The digital warp of Sawtooth Jack — an actor in costume deformed in-plate into skeletal proportions using a BlendShape warp in Nuke, with selective CG patches applied shot by shot where the deformation alone wasn't reading. The result sits on a spectrum between in-camera and fully CG.

A falcon hunting and snatching a huia mid-flight — 30 seconds of feathered creature animation directed in-studio by the late Lee Tamahori. Both birds fully CG, built from native New Zealand bird anatomy and flight research.

A CGI digital double of the actor built from on-set scans, rigged and animated through a van crash sequence — with cracked windshield, smoke and blood completed around the performance.

Goblins morphed from scanned human characters — Rosie's full human-to-goblin transformation built with speed ramps matched to editorial reference. CG ears growing on an actor's head, tracked and animated against HDRI reference. Character scans used as the base for creature-to-object morph sequences.