Selected projects span from 2010-2016.
If you would like some insight as to how I approached the challenges these shots presented, please read through the breakdowns below.

"Non-Stop" Airport Environment
A 100% CG environment comprised of multiple camera projections. DMP elements brought into the scene were then layered, patched and blended in comp. Vehicles and lighting effects on the ground were procedural and animated in Nuke. Multi-layered renders and effects for the Boeing and the Typhoons.

"Hunger Games: Mocking Jay Part 2" Ammo Depot
I was tasked with taking the temp of this shot through to final with focus on final colour for the CG as well as the integration of foreground elements. 

"Man of Steel" Van Toss
The choppers, van and soldier were all multi-layered CG elements I had to balance with all the smoke, tracer, dust, and particle effects I built up. As an added touch I used a combo of 2d and 3d texture tools in nuke to pepper the van with bullet hits and holes.

"Man of Steel" Chopper Spin
The (third) CU of the Little Bird spinning out was a very motion blur heavy key. I was tasked with creating tinted/polarized windows throughout the frame as well as building a proper sky/sun source and flares. In addition a CG rotor element was also integrated.

"The 100 Season 2" Space Walk
These were full CG environments. Space station and astronaut were provided by 3d. The earth and star field were card/geometry based projections in Nuke. Hand built flares and lens effects.

"The Frozen Ground" Snow at nightfall
I tweaked various forces and properties in a 3d particle system to sell the snow for these shots. A little haze and bloom with some extra 2d/3d depth of field effects where needed.

"Piranha 3D" Ripping Girl
The actress being torn apart in this shot was wearing green tights in the hopes it would facilitate a removal, which it did to a degree but still required water patches from various spots in the shot as well as a full 2d replacement for her right arm and warping her torso to sag after release. Additionally, the sheriff carrying her also lost most of his right leg as well as part of his stomach and chest. I tracked, animated and warped a leg and stomach to replace this.

"Man of Steel" Invincible Faeora
I added all environment destruction including CG building destruction and various 2d dust,smoke and fire elements. Faeora's breathing gear and armor were multi pass CG renders. Various procedural noise textures were animated in conjunction with 2d and 3d mattes to create the look of energy currents running through her headgear. In addition bullet hits and interactive lighting were layered in to complete the action.

"Second Chance" Twisted Back
Looking for as much control in the comp as possible I was able to generate extra sets of shadows to fall on the woman's back by utilizing an imported 3d sculpt along with Nuke's Raytrace render tools. This allowed for quick iterations, a faster final shot, and ultimately a creepy back...

"Non-Stop" Cabin Destruction
One of the creative challenges of this sequence was finding an artistic balance of interior/exterior exposure so the director could have the action he wanted but still make the photography believable.

"Earth to Echo" Truck and Spaceship
Many truck objects were not in their own layers so I had to get creative with object position passes to build mattes in order to tweak the look and feel of the various parts. For the ship alongside CG integration I had to rebuild the BG from different footage to fit the post camera move. 

"Hunger Games: Mocking Jay Part 2" Death Beams
Hashing this out with the Compositing Supervisor, I was tasked with developing the look of the death beams that the band of rebels are dodging.  With 17 beams and a need for interactive lighting on both the actors and practical set that would connect to our digital set extension, it was important to develop something procedural that would iterate well with small changes and tweaks.

"Man of Steel" Faeora Malfunctions
Many procedural animated textures were used with 2d and 3d mapping techniques to achieve the affect of the energy mask eating away at itself. It was important that I had the control to time the texture's behavior to coincide with her actions. Additional headgear integration and procedural flares to finish.