The Fusion of Cinematography and VFX:
A Journey from Green Screen to Virtual Production
My journey into the world of cinematography and visual effects began long before I found myself working in the Film and TV industry. Back in university, I was asked by my friend Yasha Hindine to help shoot behind-the-scenes footage for his video mapping projects in Cardiff. Yasha’s work involved projecting visuals onto venues for live music events, creating immersive experiences that combined art and technology. One project required several green screen shots, and it was during this process that I began to appreciate the importance of storyboarding. At that point, I wasn't fully aware of how essential this step would become in my career, but it planted the seed for my fascination with VFX.
Short Film for Yasha Hindine
A pivotal moment arrived in early 2016 when I was approached to create visuals for a projection mapping event at Newport's Riverside building. Seeing my work displayed on the side of the building in front of a live audience sparked something in me. It was the first time I truly felt that this kind of creative work could be a viable career path, and it pushed me to pursue more opportunities where I could combine my technical skills with artistic vision.
As I progressed in the industry, working on various features, commercials, TV dramas, and music videos, I found myself increasingly collaborating with VFX supervisors. These experiences taught me the finer details of the VFX workflow, from the importance of tracking markers to how certain choices on set could significantly impact the post-production process. I learned that small adjustments during filming—such as ensuring consistent lighting or providing clean plates—could save hours of rotoscoping in post. This collaborative approach not only improved the final product but also deepened my respect for the meticulous nature of VFX work.
Assisting on a Berghaus commercial in London
One project that stands out in my VFX journey is the sci-fi short film Disable/Enable, directed by Christian Lett and starring Justine Jones, Charles Venn, Owain Arthur, and Sara Gregory. The film was ambitious in its use of visual effects, featuring everything from portals and muzzle flashes to time-freezing sequences. Beyond the obvious VFX shots, we also employed subtle tricks—such as digitally creating a hand for a POV shot or adding a digital push-in with parallax to enhance static frames. This project pushed me to think creatively about how VFX could elevate storytelling, blending the practical with the digital to create something greater than the sum of its parts.
My experience on 4 O'Clock Club, a CBBC TV drama, further honed my green screen skills. Working as 2nd Unit DOP under Simon Walton, I shot several performance elements against green screen for surreal animated backdrops. This project reinforced the importance of pre-visualization, lighting consistency, and communication with the VFX team to ensure seamless integration between live-action and digital elements. Additionally, I had the opportunity to work on Lagging, another CBBC series with Simon Walton, where I again applied my knowledge, in this instance against Blue Screen, to bring imaginative worlds to life.
BTS of ‘4 o’clock club’ Series 9 for BBC on green screen
Still from ‘Lagging’ Series 1 for BBC shot on blue screen
More recently, I’ve been exploring the world of 3D modelling and virtual production. While serving as DOP on my first feature film (currently in post-production), I faced the challenge of recreating the iconic Grosvenor Bridge in Chester. The real bridge was not practical or safe to shoot on, so we built scaffold platforms in the studio and enlisted the help of a VFX supervisor to plan the digital extensions. To aid both the pre-production and post-production process, I created a 3D model of the bridge using photogrammetry via the Polycam app. I captured approximately 150 screenshots from high-shutter-speed drone footage, which allowed me to generate an accurate digital model. This model was then imported into Previs Pro, where I created scaled storyboards that gave the entire team a clear vision of what we aimed to achieve. The model not only served as a reference for VFX artists but also streamlined the entire workflow, bridging the gap between the practical and digital worlds.
Looking ahead, my ambition is to work within the next evolution of VFX—virtual production using LED volume stages. Productions like The Mandalorian and 1899 have revolutionized the way filmmakers approach visual effects by combining photorealistic digital environments with practical lighting in real time. This method empowers actors to perform in immersive worlds, while cinematographers gain far greater control over lighting and reflections compared to traditional green screen setups. Central to this revolution is Unreal Engine, which has become one of the most powerful tools in virtual production. The software's real-time rendering capabilities allow filmmakers to create highly detailed environments that respond dynamically to camera movement and lighting changes.
To better understand this process and its connection to cinematography, I have recently begun learning how to create scenes within Unreal Engine. This hands-on approach is giving me valuable insight into how digital environments are built and how the technology can be leveraged to enhance storytelling. By familiarising myself with the software, I hope to bridge the gap between traditional cinematography and virtual production, enabling me to collaborate more effectively with VFX artists and contribute creatively to the entire workflow.
Creating a test scene in Unreal Engine 5 to understand how it works.
Visual effects have always been about blending imagination with technical precision, and the rapid advancements in virtual production offer a glimpse into the future of filmmaking. My journey from green screen experiments to 3D modelling and beyond has taught me that the most important tool in this process is collaboration. Whether through careful storyboarding, pre-visualization, or on-set adjustments, the key is to think ahead—because every decision made in prep and shoot will ultimately shape the final image.
As technology continues to evolve, I’m excited to see how these innovations will allow us to push the boundaries of visual storytelling even further, creating worlds that feel both tangible and extraordinary.
