ABOUT

Half of my week is spent inside Unity and Blender — writing shaders, rigging real-time scenes and making engines behave like cameras. The other half is spent on set with an a7III, or in a grading suite deciding what a face should feel like.

That split isn't a compromise. Real-time work taught me that light is a system you can reason about; documentary work taught me that a system nobody feels is worth nothing. Most of my projects live where those two admissions meet — installations that have to run for eight hours a day, films that have to survive a colourist, interfaces that have to be legible at 3am.