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With a decade and counting in visual effects, Ed has been thinking about how images appear on your screen for quite some time. A variety of project experiences spanning across series and feature formats have helped him develop an eye for creating both the spectacular and the invisible.

Comfortable collaborating with, and guiding artists through projects of any scale, he brings a thoughtful and even-keeled approach to whatever situation is at hand. Also, Dad jokes.

Ed is often asked to help out in difficult situations, which usually consists of tackling work-in-progress (AKA problem) shots and taking them through to final. Whether a shot or entire sequence, knowing the right approach and having the skills to see it through has won Ed the trust and appreciation of Supervisors and Producers alike. 

Continually working to develop knowledge of the bigger picture around studio projects, including pipeline and the client perspective, Ed is taking on supervisory opportunities as they present themselves.

A transplant from Toronto, Ed moved to the West Coast five years ago and currently resides in Gabriola.

 

Selected projects 2010-2017

If you would like some insight as to how the challenges in these shots were approached, please read through the breakdowns below.

"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 color for the CG as well as the integration of foreground elements.

"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.

"Future Man" Smoke Bomb Assassins
I used 2d smoke elements and Voxel volume renders in Nuke to create hanging smoke as the uncut version of this shot required an extend camera move.  Volumetric light was also added to the visor. 

"Future Man" Bomb Timer
The requirement of this shot was to remove an incorrect timer that was shot on the day along with indicator lights. After I generated a 3d camera track in Nuke to facilitate the paint-out I layered in my own countdown and interactive lighting.

"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.

"Legends of Tomorrow" Life Drain
Tasked with growth continuity across a sequence of shots, I had to adhere to an approved concept while making all the different elements of the effect read in a balanced way. 2d and 3d face tracking along with traditional paint work took this through to final.

"The Exorcist" Black Blood
Overseeing sequence continuity I had to add blood and ooze to the eyes and mouth of the character and have it trickle down to a certain point over time to connect up with practical shots where makeup was applied.  Various 2d tracking and warp tools were used to get it to stick and animate as desired.

"Future Man" Hallway Escape
A bit of an eleventh hour request to comp, I was asked to see what I could do to get a number of explosions into the shot without having to resort to the 3d department. Seeing that most of the doors in the plate were closed and that is where the explosions needed to come from, it only made sense to me that I had to create, animate and light a 3d element in Nuke to help sell the danger of the situation. We only got a few kicks at the can with this one and the client was very happy with the result, so much so that they asked that the doors be introduced as elements into other shots.

"ZOO" Drone and Building
Final polish integration of the drone as well as sitting the building exterior into the shot. Render Geometry was shifting out of alignment so I had to rebuild, track and warp them into place over time. 

"Earth to Echo" Spaceship
For the ship alongside CG integration I had to rebuild the BG from different footage including a full sky replacement in order to perform virtual camera takeovers. 

"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.

credits

Film 

Ad Astra 2018
The Hunger Games: Mockingjay - Part 2 2015
Sin City: A Dame to Kill For 2014
The Expendables 3 2014
Earth to Echo 2014
Non-Stop 2013
Oculus 2013
Escape Plan 2013
The Frozen Ground 2013
Man of Steel 2012
The Twilight Saga: Breaking Dawn - Part 2 2012
Cosmopolis 2011
In Time 2011
Final Destination 5 2011
Battle Los Angeles 2011
Piranha 3D 2010
Knight and Day 2010

For an extended credits list please head on
over to the IMDB.

Television

The Exorcist 2017
Legends of Tomorrow 2017
X-Files 2017
Misfits (pilot) 2017
Zoo 2017
Searchers (pilot) 2017
Beyond 2017
Rocky Horror Picture Show: Do the Time Warp Again 2016
Wayward Pines 2016
Lucifer 2016
The Man in the High Castle 2015

Recent STudios

MPC (Lead Compositor)
Zoic (2d Supervisor, VFX Supervisor)
The Embassy (Senior Compositor)

For a more fleshed out work history please check out my LinkedIn profile.