At Wicked Pixels we often got Betway Projects and I was the go to guy. Each time it brought something fresh to the concept and it even gave me a chance to try out Unreal Engine for rendering which worked out very well, and VERY fast!

When you’re given the opportunity to play, you play. The brief we got at Wicked Pixels was that we need a Pantsula dancer, but with weird objects. I opted for microphones and fluff!

Ah, good old George Leong from Fairchild.tv knows what he wants, and he wants it shiny! I really enjoyed this piece and George’s vision really came through.

During my wondering days I got to work on an interesting project for O Music where the O of the logo would extrude out of a sphere. It was one of the more abstract pieces I’ve worked on.

One of my first projects at Wicked Pixels was on All Gold. A massive almost one year project where our network was taxed and render power maxed out.

Investec called for a lot of closeups of their Zebra so I had to make the hair and fur camera ready.

XGen is great, but wow it broke a lot on this project. I lost count of how many times I had to start over!

One of the biggest Super Sport projects we worked on at Orijin was the Impossible Camera Move

Tasked with creating camera moves that just would not be possible in the real world brought our computers to a screeching halt!

Back in the day of Clearwater I was privileged enough to work on the first HD channel on DStv.

Working under Nicci Hattingh we spent many days nudging highlights and rendering for hours on end. All these new pixels needed render power and I helped set up their first proper render farm with six dual core Xeon machines.