Animation has always been the part of filmmaking I can disappear into - not because it's "fun," but because it lets you control meaning. You can clarify a story beat, heighten emotion, or add detail the camera never captured. I started learning animation on my own, then moved into a workflow where it wasn't occasional practice - it was a core deliverable, shipped consistently inside videos reaching millions of viewers.

On Beast Philanthropy, the animation wasn't meant to feel like a separate layer - it had to behave like part of the film. In most edits, the job was to transition from a real-world environment into an animated world without breaking immersion or retention. That meant solving constant technical and creative friction: matching camera movement, timing, texture, lighting, and compositing so the shift felt seamless. Over months, the work tightened - from early attempts that were rough but on-style, to sequences I'm genuinely proud of. Below is that progression: the first pieces, how the style locked in, and the strongest examples that define my approach today.

3D is where I build what couldn't be filmed - objects, environments, and motion designed from scratch and lit to sit alongside real footage. Modelled and animated in Blender, finished in After Effects and Resolve.

This section is growing. Below is the direction and the pieces that define where the 3D work is heading.