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Role: Video Designer

Director: Olly Platt

Designer: Alisa Kalyanova

Responsibilities consisted of liaising with Olly and Alisa on the opportunities with video for the production, outlining any complications with projection with the stage design and keeping an open line of communication for design concepts and developments. This opera was inspired by films Apostle and Midsommar. Reimagining this tragic love story with a modern take and a twist to the ending, opened up a lot of opportunities for video and strong possibilities for abstract symbolism.

Role: Video Designer and Projection Mapping

The focus of this project was integrating nature, human and the artificial together into and immersive installation celebrating the natural world. Mabel recorded videos on Walthamstow Marshes and implemented them into their own instancing system with a variety of compositions all with differing looks. The aim here was to create different stages, all of which depicted the different stages of ecological succession. This instanced video was then composited alongside a soundscape designed by Mabel and projected onto curved gauze.

Additionally with these videos, Mabel created .ply 3D assets and then animated pointclouds, using the gaussian splatting plugin for Adobe After Effects.

Further to this reimagining of the geological process, Mabel sent out a questionnaire, outlining the stages and asking individuals how they interpret the different stages and how they would imagine these in an abstract form. With this information, Mabel utilised an image generator called Streamdiffusion. This image generator uses text prompts and video inputs to create visuals. Using the visual outputs, Mabel developed feedback loops and with the use of mirrors ended up creating kaleidoscopic visuals. This was then projected onto a faux forest floor, built by the props department at Guildhall School.

Role: Video Designer and Projection Mapper

This project was a pilot for an upcoming audio-visual festival taking place January-2026. Mabel was responsible for conceptualising the space and developing visuals for Milton Court’s Box Office exterior.

The initial inspiration for this project was the idea of the commute and the London rat-race. Having grown up in London, Mabel has noticed how the average commuter aims to move anonymously when moving from A to B. To break this cycle with this visual projection, Mabel was inspired by optical illusions and attempting to catch the eye of those on their way home from work. Using generative visual networks, and creating pre-sets using midi-keyboard and parameter experimentation, Mabel was able to composite the vast majority of the initial storyboard into one render. Streamlining this design process was a new method for Mabel, something they adapted into their creative process.

Role: Video Designer

Expected to design content for 13 screens moving on Milton Court Theatre’s automation system. Mabel was responsible for planning the movement of the screens and passing this onto the automation team for them to program in the theatre space.

The theme of Space was initial idea, developing on this, Mabel aimed to create an experience which celebrated the discoveries of NASA and the photos taken from exploring the abyss. Mabel adapted photographs from NASA’s findings and created an intuitive instancing system which remained a consistent design element throughout the piece. Spoken word and soundscapes fuelled the storytelling process, with audio-visual integration being the forefront of video composition.

Role: Lead Video Designer, Concept Developer and Crew Member

Mabel took on a plethora of responsibilities during this project including, leading a team of designers to create designs in line with client expectations, liaising with creative director of Guildhall Production Studios, Dan Shorten, about concept development and proposing the visual concept in line with the clients brief ‘Body and Mind’.

This role was a step up in responsibility for Mabel, building on their communication skills with the team and director. Additionally, being able to delegate appropriate tasks to those with the relevant software skills. Having predominantly worked independently on designs, this project assisted development on Mabel’s leadership skills as well as project management.

As an extension of managing the creative process, Mabel was also part of the installation crew in Blackpool. Responsible for video mapping on The Wedding Chapel, setting up speaker system and eight Panasonic 12ks with an intuitive system integrating Max MSP, Reaper and Resolume Arena.

Role: Video and Sound Designer/ Interactive Systems Researcher

The task for this project was to create a piece of visual media with which utilises a form of interactivity.

Different methods for creating interactive media were explored during this project. The design and technical process of this project explored digital components such as, Media Pipe, and Optical Flow as well as the use of leap motion technology. The research and development process resulted in creating a bespoke, self-made interactive network, adaptable to any space with only needing a live video feed, and no additional plugins.

The concept had strong themes of nature. Within the installation the attempt to allow the audience to control and interact with a depiction of two natural elements, fire and water. Through vigorous research into methods of interactivity within Touchdesigner, an instancing network was created to map the movement within the space, onto a pointcloud system. The movement in the space could be identified through the use of compositing the tracked movements with colourization. The of colour was where the symbolism of the different elements shone through.

One interesting observation from working to achieve an interactive exhibit was how with an external stimulus to focus on, the audience member lost their sense of awareness with regard to their body movement. It was fascinating to see how with the distraction of media the audience became less conscious of their movements, and more absorbed by the visual.

Role: Researcher and Holosys Operator

Volumetric capture is a 3D capture system that does not require any motion capture suits to pick up a 3D asset. Instead, it uses 48 cameras in a 6m diameter circle to jigsaw a mesh structure of the 3D asset through triangulation. Through processes of calibration these cameras are collecting position data of assets in the space and storing this data to then be processed in the Holosys software.

The capture software is responsible for managing the capture data and rendering the assets. For every one second of video footage filmed it takes 5 minutes to render the 3D mesh. On average a 30 Second clip takes roughly two and a half hours to render. To ensure a high-quality render, it takes strict masking in the software to ensure the asset is distinctly isolated form anything in the background.

BirdGangLtd came to Target 3D to explore opportunities for capturing dance. We explored the limitations through different choreographed movements. We explored the limitations of levels and proximity. This work was generally experimental. With a capture space of just a 3m diameter, we had to work to the constraints of the system, sometimes doing dances in offset parts to gather multiple captures with the specific sections of dances being the within the capture space for these to then be merged using 4DViews post production software.

Role: Stype Camera Tracking and Resolume Operator

This was a episodical short-film production, directed by Helen Iley and produced by Jamie D Allen. The film was made up of eight scripts, all filmed in a Citroen C1, from the TV studio at Milton Court, Barbican London.

The project integrated a variety of software and hardware for a live filming set-up, including: Stype Camera Tracking, Unreal Engine, Mini Desks, Resolume Arena, Black Magic colour grading and much more. Responsible for the cohesive integration of camera tracking data and driving plates in the virtual environment. Additionally, editing and projecting driving plates onto the car in the studio, recording camera position data and ensuring this was outputting live through NDI to Unreal Engine’s virtual environment. All of these tasks were vital during the filming process as well as making the post-production easier.

Role: Video Designer/ Co-Creative Director

This was a collaborative project between a couple of aerial performers and students on BA Digital Design and Production

The performers liaised with the video team and head of automation about what they wanted regarding projection designs as well as the nature of their performance. Discussions about underwater sea-life, sacred geometry and plastic/oil pollution. With a range of themes and ideas it was important to have a clear idea of story lineage and what was expected in a storyboard style.

Discussions about three separate scenes, one scene utilising the performer flying system in Milton Court Theatre. The other two scenes were solo performances, one utilising a steal rod cube which was rigged to be used as a performance prop. The other solo making use of a rope rigged to perform the routine on.