I work independently with studios, post houses and production teams, cutting frame-accurate mattes, removing what shouldn't be in the shot, and blending elements so the final image reads as one photographed moment. Shot-based freelance work for film, commercials and online content.
The original plate, the splines drawn over it, the alpha channel they produce, and the final extraction — the same frame at four stages of the work.
The services I take on as a freelance artist — specialised post-production tasks that sit at the foundation of every visual effects pipeline, done cleanly so the shot moves forward without notes. Priced per shot or per minute of footage; rates on request.
Hand-drawn, frame-accurate mattes for characters, limbs, hair and props — holding shape through motion blur, fast action and soft focus.
Removing rigs, wires, markers, crew reflections, logos and set damage — rebuilding clean plates that stay stable across the whole shot.
Bringing plates, keys, CG and elements together — matching grain, colour, light and edge so nothing in the frame looks pasted on.
Pulling clean keys from imperfect screens, then fixing spill, edges and detail loss so the subject sits properly in the new background.
Drag the slider to compare the original plate with the finished result. Every matte, spline and extraction shown here was done by me.
Long hair blowing loose across a bright background. Every strand held separately so the edge stays soft instead of turning into a cut-out silhouette.
A moving subject split across a practical set and a partial blue screen. Rotoscoped by hand so the whole figure lifts cleanly, headset straps and stray hair included.
Hundreds of splines around curls, lace and jewellery. The left frame shows the shape work; the right shows what comes out of it.
Original plate, matte overlay and final, left to right. The support rig in the plate is excluded from the matte so it never reaches the composite.
The channel behind the extraction above. Detail that survives in the alpha is detail that survives in the composite.
Industry-standard tools, used the way studios expect files to come back.
A simple, predictable workflow — so you always know where your shot is.
You send the footage, the reference and the deadline. I check resolution, frame range, colour space and difficulty, then confirm scope and timing before anything starts.
Shapes are built and tracked across the full frame range, prioritising the hardest frames first — fast motion, occlusion and soft edges.
You get a preview render to check. Notes come back, I address them — revisions on the agreed scope are included, not billed extra.
Final files delivered in the format your pipeline needs — EXR sequences, alpha-channel QuickTimes, PNG sequences or project files.
I'm a visual effects artist focused on the detailed, unglamorous parts of post production — the roto, the paint, the cleanup and the comp that have to be invisible to be right.
Most of my work is the foundation layer of a shot: separating a subject from its background frame by frame, removing what the camera caught but the story doesn't want, and blending the pieces back together so the audience never notices any of it happened.
I care about clean edges, stable shapes and files that arrive named, organised and ready to drop straight into a pipeline. If a shot needs a hundred small corrections to look like nothing was done to it, that's the part of the job I enjoy.
Send the footage, the reference and your deadline — I'll come back with a realistic timeline and a written quote. Test shots welcome. Invoicing and payment handled directly with me.