Visual-Effects is my work, Storytelling my passion. Sometimes they come together to make a film, as often as I can.
REALITY HEIST - 2022
In 1984, after years of experimenting with ground-breaking technology, a scientist finally puts her calculations to the test and successfully transports herself into an alternate dimension, where she finds her estimations and predictions can only prepare her for so much...
Reality Heist is a Sci-Fi short I wrote and directed while at the National Film and Television School, UK. As part of the Visual-Effects course, there was no official oportunity for us to actually make a graduation film, besides servicing the other projects of the school if need be. But thanks to the support of HoD Ian Murphy, I have been able to lead this project and gather talented artists from my course but also other departments to collaborate on this side-project.
The idea was to write a script that would fit our skills and desires as VFX artists and tie them together around a character’s journey. I am convinced that it is only in support of a story that VFX truly have power and live not only for mere spectacle. My challenge was also to blend traditionnal visual effects such as Digital Matte Painting and rendered CG Assets with the latest technology in virtual production with real time environment on an LED Wall.
BEYOND THE REALM - 2020
In 2492, Leopold joins a colonist expedition to a newly discovered planet but finds himselft alone as an accident happens upon arrival. Reaching for strength to cross the wild environment to go back to his kins, he will find that hope is a better ally.
Beyond the Realm is the graduation film I wrote and directed at the end of my Directing bachelor’s degree in Lyon, France. It is a Survival Sci-Fi short I wanted to experiment a lot with. It was the first time I ever tried incorporating complex visual effects such as practical miniature models shot against a green screen to be composited with drone live-action plates and digital matte-paintings. It was also my frist time dealing with heavy SFX and prosthetics, from a simple wound to a full-costume.
It was important to me to set these experimentations in an environment I was very familiar with; the Alps I grew up in, and in themes close to my heart; the magnificent power of nature and the strength of family bonds. Shooting for a week in altitude in the middle of winter was an intense learning and bonding experience with the team as well as completely materialising the themes of the film onto us.
