Chris's pursuit of achieving what would normally be considered VFX shots, in camera, doesn't stop at his fluid effects and cloud tank photography. Whether designing specialist optics to get the right shot, using aerial imagery to bring out of focus backgrounds into the same focal plane as close ups, or using techniques like Gaussian Splatting to create digital assets in camera, Chris is a champion of in camera techniques.
Chris and Peter Parks were commissioned by Darren to produce their special brand of organic fluid effects. In order to make his vision of space timeless, Aronofsky steered clear of traditional computer graphics and instead shot with Chris and Peter over a period of 8 weeks to produce something that was unique and would not age.
Ant Man VFX supervisor, Jesse Chisolm, approached Chris about creating skies for the Quantum Realm. They were looking for something organic that suggested the sub atomic scale of the world. Chris shot for two weeks creating environments and the imagery for the credit sequence.
In the 1980's, when Terrence was in the early stages of planning his epic film, he approached Peter Parks to shoot some marine imagery. 30 years later once principal photography was under way he got in contact with Chris to shoot some abstract imagery for the 'Life before birth' and 'Universe before the big bang' sequences.
The director, Justin Kurzel, brought in Chris to create visuals to represent memory and past experiences. Chris drew on the double helix idea of DNA where particularly violent memories are stored Chris developed variations on this visual style for The Animus as a signature for time travel as well as a visual representation of memory itself.
When Sam Pilling and Pulse decided to project images of the Aurora Borealis onto the Rolls Royce Phantom, they came to Chris to create the imagery. Using a combination of modern day glassware and some 200 year old lenses, Chris and the team were able to achieve miniature Auroras in no more than a cup of fluid.
Chris and Daniel's sixth project together saw the collaborating on an Apple commercial that saw the element tungsten, a USP for the new iPhone, travelling to earth before being forged into the iPhone 15. Dan Williams was brought on by Daniel as VFX supervisor and he and Chris created the adrenaline fuelled journey from the edge of the universe to the palm of your hand.
Chris worked with Bioscope films to create the manufacturing of not only the glass bottle but also the contents that fill it. Chris used both his signature fluid events for the sequence but also shot some of the raw ingredients, including sand, silica and glass.
For Moët et Chandon and their 'Must Be Moet' worldwide campaign, Chris was again asked to create visuals to suggest something abstract - in this case it was 'the memorable moment', those instances in life when everything comes together into something unforgettable. Directed by Manu Cosu the results are truly stunning.