Environ­ments

Location cleanup and environment work across an Amazon MGM comedy — logo clearance, equipment removal and split screen compositing across World Cup shooting locations.

The Bluff cliff environment — built from plate photography, reference video and LIDAR scans of the location, combining CG, digital matte painting and compositing. The standout shot: a wide night exterior stitching the hero house to the cliffside landscape using white water ocean elements and a large collection of tree stills.

Environment work across 500+ shots — the studio's largest engagement with the NCIS franchise, spanning location extensions, set completions and the world around the action.

A Philippine jungle environment built for a WWII rescue sequence — with Houdini FX vegetation draped across the grounded glider, embedding the aircraft in the landscape before the sequence tears it free.

A CG space environment for the recurring Kingswood dream sequences — built for both blue screen extraction shots and full CG wides. Sky replacements, virtual vehicles and background alterations across all seven episodes.

Sydney Harbour rebuilt in CG — the USS Perez placed at the dry dock, the James Craig given a Houdini ocean simulation, the Harbour Bridge preserved in every wide shot. Drone plates composited to construct wider geography than any single plate could offer.

Digital set extensions for a near-future schoolyard — signage, vehicle decals and background buildings inserted to push the world into a time that reads as familiar but slightly wrong.

Prehistoric environments — burning forests, the 10,000 BC landscape reconstructed in 3D around the Episode 4 firestorm, and location extensions across the full season.

Hotel interior plate stitching — multiple takes combined into continuous shots. Set extension and cleanup around a sustained axe fight sequence.

Ten distinct ocean environment looks across the series — porthole blue screen compositing with light rays and particle simulation. Victorian era city streets, ports and colonial interiors extended for period accuracy.

Camelot mansion — a heritage-listed Victorian Gothic structure — transformed from day exterior under clear skies into a rain-soaked night environment. Built from a drone photogrammetry scan of the full building exterior, KeenTools GeoTracker camera alignment in Nuke, and a Houdini rain simulation with a wetness map following the complex facade geometry.

Burnt aftermath of the hero house — drone plate transformed into a digital matte painting of ruins, with the house repositioned into a more remote, isolated setting. The landscape emptied out around it.

Colonial settlement growth — a digital matte painting sequence showing the expanding British settlement built from set photography. The Maidenhead placed across dozens of bay shots at varying angles and wind conditions.

Italian coastal environments and interior set extensions across 150+ shots for a Sony Pictures action franchise conclusion.

Paris DMP with the Eiffel Tower placed across a helicopter action sequence shot in New Orleans.

The MGM Studios back lot in 1960s Culver City — built from archival research, period vehicles sourced as stock 3D models, and period movie posters supplied by production. RCA Studios with a checkerboard floor extended from an Unreal asset. The USS Randall troop transport placed over a practical ocean plate.

Snowstorm and post-storm environment — digital matte painting of frost and icicles on foreground and background vegetation, patchy ground snow projected onto a tracked ground plane, frozen ground sheen graded across the campground.

Art-directed cloud additions across driving sequences — built to sit inside Jordan Peele's carefully constructed visual language. The first film-sourced (8K scanned) project at Future Associate.

Bathhouse set completed through archways from on-set photography. Tunnel environment extended from a LiDAR scan with retopologised geometry and bracketed texture photography. The ancient chamber beyond the rusty door — CG flies, spider webs, light beams and dust.

Utah winter location — cold breath removal, falling snow removal, dead pixel cleanup across timelapse frames, and production crew removal across multiple episodes.

Morph compositing and split screen work across a full feature — blending selected takes invisibly in service of the edit.

Burnt landscape extensions across six episodes — digital matte painting transforming unburnt hillsides to ash, removing green re-growth, extending the devastation beyond every location.

1949 Los Angeles CG environment built in Unreal Engine — multi-block city streets and a Chinatown hero location, rendered as EXRs and composited against green screen at night in the rain.

Green Hill Zone — a full digital environment built from rough geometry: checkerboard cliff faces, cascading waterfalls, loop-de-loops, library wave elements at the shoreline, and a full sky DMP.

Balcony clean-up and split screen compositing across a small package of shots — precise, invisible work delivered cleanly.

Location-based environment work across a full series — the Eastland Refinery exterior, interior fire environments, and a range of compositing across nearly every episode.

Los Angeles environments — FBI interior with a bronze seal matte painting, rooftop car park bluescreen compositing through multiple layers of glass, and a TV screen replacement with blue-spill skin tone restoration.

Period environment cleanup across a Netflix feature — drainpipes, modern chimneys, contemporary doors, electrical fittings, window panes, topiary, crew reflections, dolly tracks and modern footwear. The single most sustained invisible environment work the studio has delivered on a single film.

Penrhyn Castle, Wales — fully scanned, furniture stripped, floor-planned and reconstructed as a real-time virtual production environment. Rendered in Nuke via scanline projection of photographic textures onto scanned geometry, for Jeremy Irons shooting in Atlanta.

Blue screen compositing, set extension and driving comps across 230+ shots — three time periods anchored in one house, with a climactic crossover combining both eras in the same frame.