2024/2025

  • Role: Video Designer, Concept Developer, and Installation Artist

    Sound Designer: Eleanor Weavers

    Duration: 15 Minute Loop

    Location: Silk Street Lighting Lab

    Medium: Projection Mapping-Gauze (7.5mx3.3m) and Faux Forest Floor Futon

    Software: TouchDesigner, Postshots. After Effects, Resolume Arena

    The Living Tapestry was a self-initiated expanded cinema project that explored the intersection of nature, digital design, and immersive space. As both Video Designer and Concept Developer, I was responsible for leading the creative direction, technical integration, and spatial curation of an immersive audio-visual installation inspired by ecological processes and natural systems.

    Working in response to a personal brief rooted in themes of meditative immersion and environmental storytelling, I conceptualised a multisensory experience that translated the stages of ecological succession into abstract visual language. Drawing influence from exhibitions like Soil: The World at Our Feet, the work sought to evoke the regenerative power and quiet complexity of the natural world through evolving digital textures and spatial form.

    Technically, the project incorporated advanced video design methodologies including Gaussian Splatting, Stream Diffusion AI, and TouchDesigner instancing systems, supported by LiDAR-based point cloud workflows and generative feedback loops. I developed a layered, modular system for compositing visuals that represented different natural phenomena while simultaneously experimenting with narrative structure, interactivity, and non-linear storytelling techniques.

    My responsibilities included curating the exhibition environment, projection mapping onto sculptural gauze, and developing a soundscape that worked in harmony with the visuals. I also explored collaborative workflows by drafting briefs for external sound designers, and reflected critically on the challenges of delegation and communication within creative collaboration.

    This project deepened my understanding of video design as both a conceptual and technical practice. It sharpened my ability to work independently across multiple disciplines—from research and prototyping to exhibition design—and reinforced the importance of balancing precision with openness during the creative process.

  • Role: Co-Lead Video Designer, Concept Developer & Crew Member

    Creative Director: Dan Shorten, Guildhall Production Studios

    Duration: 10 Minute Loop

    Location: The Wedding Chapel, Blackpool

    Medium: Projection Mapping using 8× 12k Panasonic Projectors

    Software: After Effects, Max MSP, Reaper and Resolume Arena

    In this project, I took on a multifaceted role as Video Designer, Concept Developer, and Installation Crew Member, working on a large-scale outdoor installation in Blackpool. My responsibilities included leading a team of designers to deliver visual content that aligned with the client’s theme, ‘Body and Mind’, while collaborating closely with Dan Shorten, Creative Director at Guildhall Production Studios. I was responsible for developing the visual concept, presenting ideas in response to the brief, and ensuring that the team’s creative output met both aesthetic and technical expectations.

    This project marked a significant step forward in my leadership and project management experience. Having primarily worked independently in the past, I developed stronger communication skills and gained confidence in delegating tasks effectively based on each team member’s software expertise. In addition to managing the design process, I also contributed to the on-site installation in Blackpool, where I was responsible for video mapping content onto The Wedding Chapel and setting up the technical infrastructure. This included coordinating an eight-projector setup using Panasonic 12Ks, understanding the system with Max MSP, Reaper, and Resolume Arena, as well as assisting with the sound system installation. The project was a valuable opportunity to combine creative leadership with hands-on technical execution in a collaborative and high-pressure environment.

  • Role: Video Designer & Sound Design

    Duration: 5-6 Minutes

    Location: Milton Court Theatre

    Medium: Projection onto 13x1.5m² panels programmed using automation system

    Software: TouchDesigner, After Effects and Disguise

    This project involved designing and delivering dynamic visual content for a large-scale installation featuring 13 automated screens at Milton Court Theatre. My role extended beyond video design to include strategic planning of screen choreography. I worked closely with the in-house automation team to map out each screen’s movement path, timing, and spatial orientation within the theatre’s automated rigging system. These movement plans were essential to ensuring seamless synchronicity between the physical motion of the screens and the visual narrative unfolding on them.

    The conceptual foundation of the piece was rooted in the theme of Space, which then told a story of cosmic discovery, inspired by NASA’s photographic archives. The aesthetic direction aimed to capture the sublime vastness and haunting stillness of space, while also celebrating the human drive for exploration.

    The integration of spoken word and ambient soundscapes played a critical role in shaping the pacing digital-storytelling. With audio serving as both narrative and structural backbone, the visual content was composed in direct response to sound. Visuals were carefully timed and composed to create a deeply immersive experience where the viewer’s perception of time and space.

    This project required a nuanced understanding of both the conceptual and technical aspects the automation system and digital design. It challenged me to think clearly about the story I was telling based on sound and spoken word, but also how to best take advantage of the automaton system to create an expanded cinematic experience.

  • Role: Video Designer and Projection Mapper

    Creative Direction: Dan Shorten, Guildhall Production Studios

    Location: Milton Court Box Office

    Duration: 5 Minutes

    Medium: Projection Mapping using two Panasonic 12ks

    Software: TouchDesigner, After Effects and Resolume Arena

    For this pilot project, I was responsible for conceptualising and designing projection visuals for the exterior of Milton Court’s Box Office. Working closely with festival organisers and client representatives, I carefully interpreted their brief to develop a concept that would both engage the target audience and enhance the urban space.

    The creative concept was inspired by the London commute - the fast-paced, often anonymous movement of people navigating the city. Drawing from my personal experience growing up in London, I aimed to break this cycle of invisibility by creating visuals that catch the eye through optical illusions Gestalt’s design principals and dynamic movement, encouraging commuters to pause and engage. To bring this idea to life, I experimented with generative visual networks and developed MIDI-controlled pre-sets that allowed for real-time parameter adjustments, resulting in a highly adaptable visual system.

    On the technical side, extensive preparation was required to ensure the visuals aligned perfectly with the architectural features of the Box Office façade. This included precise projection mapping and pre-visualisation to optimise image placement and scale. Additionally, I streamlined the design workflow by compositing the majority of the storyboard into a single render, improving efficiency while maintaining creative flexibility. Throughout the process, close communication with clients ensured the evolving design met their expectations and the project’s artistic goals, ultimately delivering an immersive, site-specific installation that resonated with the audience.

  • Role: Video Designer

    Director: Olly Platt

    Designer: Alisa Kalyanovav

    Video Programmer: Jay Culmer

    Video Engineer: David Agcaoili

    Location: Milton Court Theatre

    Duration: 57 Minutes

    Medium: Projection on Gauze, Laser Cut Moths and Floor using two Panasonic 12ks and two Panasonic 5ks

    Software: TouchDesigner and Disguise

    In this contemporary reimagining of Dido and Aeneas, I served as the Video Designer, collaborating closely with director Olly Platt and set designer Alisa Kalyanova to integrate projection design as a aesthetic component of the opera. The production drew conceptual inspiration from atmospheric folk horror films such as Apostle and Midsommar, grounding the classical story in a modern, ritualistic setting.

    My responsibilities extended far beyond content creation; I was actively involved from the early stages of development, consulting on how video could be embedded meaningfully within the spatial and dramaturgical framework of the production. This included assessing the viability and limitations of projection within the physical stage design, and proposing solutions to technical constraints while working to maintain the integrity visual design.

    As the visual tone of the production leaned heavily into abstract decorative aspects, rather than symbolism, I developed a series of motifs and dynamic visual textures that complimented the stage design and assisted the visual storytelling where perhaps lighting and choreography could not.

    Throughout the process, I maintained an open and responsive line of communication with the director and designer, adapting visual concepts in response to developments in staging, lighting, and choreography. This project exemplified the kind of fluid, collaboration I value most - with video becoming a growing component for storytelling in the industry, I hope to take on more projects like this, where video is integrated into the narrative arc of performance as well as providing decorative aspects to stage design.

  • Role: Video and Sound Designer and Interactive Systems Researcher

    Duration: 20 Minute Live Generative Visual

    Location: Milton Court Studio Theatre

    Medium: Front Projection onto Gauze 6mx4m using Panasonic 12k

    Software: TouchDesigner and Resolume Arena

    This project explored the design and development of an interactive media installation, with a focus on how digital environments can respond to human movement. As both Video and Sound Designer, and Interactive Systems Researcher, I investigated various methods for creating interactivity, experimenting with technologies such as MediaPipe, Optical Flow, and Leap Motion. Through this process, I developed a custom-built, interactive system that could function in any environment using only a live video feed - without relying on external plugins or data-based tracking hardware.

    The concept centred around themes of nature, inviting audiences to interact with abstract representations of fire and water. Using TouchDesigner, I created an instancing network capable of mapping real-time movement into a dynamic point cloud system. Audience motion was tracked and composited into visuals using colour-based interactions, where specific colours symbolised the elemental forces within the piece.

    The installation revealed fascinating insights into audience behaviour. When presented with a responsive digital stimulus, participants often became unaware of their own physicality - losing self-consciousness and moving more intuitively within the space. This highlighted the power of interactive media not only to engage, but to subtly transform how people experience and inhabit a space. This project informed my fascination and eagerness to pursue more interactive projects.

2023/2024

  • Role: Video Designer and Co-Creative Director

    Performers: Sophie Page Hall and Will Davis

    Duration: 18 Minutes

    Location: Milton Court Theatre

    Medium: Front Projection onto Gauze 8mx7m

    Software: TouchDesigner, After Effects and Resolume Arena

    As Video Designer and Co-Creative Director for this interdisciplinary performance, I collaborated with aerial performers Sophie Page Hall and Will Davis, as well as fellow student and good friend Owen George Kelly from the BA Digital Design and Production. We aimed to create an immersive visual experience that supported and enhanced the live routines of performers. The project explored a range of themes - including underwater sea life, sacred geometry, and the impact of human activity on the planet - which informed both the narrative structure and the projection design. I worked closely with the performers, the video production team, and the head of automation to align visual storytelling with technical elements such as rigging and performer movement. Storyboarding played a central role in establishing a clear narrative arc, allowing the visuals to complement the emotional and thematic progression of the piece.

    The final performance was presented in three distinct scenes: the first featured a solo performance within a steel rod cube rigged as a performance prop; the second used the flying system at Milton Court Theatre to deliver a dynamic duo aerial sequence and the third showcased a rope-based solo routine. Each scene incorporated custom projection content designed to fluidly complement the choreography and environment, blending digital design with physical performance in a meaningful and visually compelling way.

  • Role: Stype Camera Tracker and Resolume Operator

    Director: Helen Iley

    Producer: Jamie D Allen

    Location: Milton Court TV Studio

    Duration: Eight Short Films: 5-10 Minutes

    Medium: Eight Short Films

    Software: Stype, Resolume Arena, Black Magic, Unreal Engine 5

    The Road Ahead was an episodic short film series directed by Helen Iley and produced by Jamie D. Allen, comprising eight scripts filmed entirely within a Citroën C1, located in the television studio at Milton Court, Barbican, London. As the Stype Camera Tracker and Resolume Operator, I was responsible for the technical integration of real-time camera tracking data with virtual environments. The production involved a complex pipeline combining Stype camera tracking, Unreal Engine, Resolume Arena, Mini Desks, Blackmagic colour grading tools, and more.

    Synchronising camera position data, and ensuring real-time output via NDI to Unreal Engine for accurate live compositing not only enhanced the realism during production but also streamlined the post-production workflow by providing accurately tracked and pre-aligned footage. The success of the project relied heavily on the precision and stability of the virtual-to-physical integration, which I helped maintain throughout the entire shoot.

    In addition to integrating and recording camera data, my role also included experimenting, editing and projecting custom driving plates onto the vehicle within the studio. The aim for projection and lighting was to ensure the filmed environment in the TV studio complimented and aligned with the virtual environment and driving plates being used.

  • Role: Researcher and Holosys Operator

    Creative Director: Dan Shorten, Guildhall Production Studios

    Location: Target 3D, Aldgate, London

    Medium: Volumetric Capture for Costume and Dance

    Software: Holosys, 4DFX, ToouchDesigner and After Effects

    This project explored the use of volumetric capture technology to record dance performance and costume. Working in collaboration with Angel’s Costume, BirdGang Ltd and Target 3D, my role focused on researching the creative and technical possibilities of using Holosys Volumetric Capture. This system uses forty-eight UHD cameras to build a 3D representation of a subject, which is then processed into a 3D mesh using specialised software.

    Much of the work was experimental, aimed at understanding how movement - particularly dance - could be adapted to fit within the physical and technical limitations of the system. The capture space was relatively small, so we had to explore how choreography could be broken into sections, captured individually, and later merged in post-production. We tested how different levels, movements, and proximities affected the quality and accuracy of the capture. This research helped identify both the potential and the current limitations of the technology, especially for performance-based content creation, as well as offered valuable insight into how it might evolve for use in digital storytelling and virtual production.

    To further our research, we looked at how well the system captures costume. We explored a variety of designs from modern to period-specific. The interest here was to explore the possibility of creating a virtual catalogue, of which could display costumes in a 3D environment. The idea to modernise Angel’s extensive archive, and display it in a way where clients can see their options virtually in a setting similar to how it would be perceived in the real-world.