Fluid Perspectives II
2015 Showreel
The 2015 showreel was primarily shot digitally with a film section in the middle. It contains some of the raw material used in The Fountain, Tree of Life and recent commercials. Click to view.
The 2015 showreel was primarily shot digitally with a film section in the middle. It contains some of the raw material used in The Fountain, Tree of Life and recent commercials. Click to view.
The Fluid Perspectives showreel from 2009 contains material principally shot on film, including IMAX 15/70, 8/70, and 35mm, with music by Ian Sanderson. Click to view.
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 otherwise 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.
With his production company, Vision3, Chris has either shot or directed specialist sequences for productions from IMAX to social media and collaborates with cameramen and creatives, many of whom he has worked with for decades. They all share the same desire for that enigmatic shot that perfectly tells the story.
The 2015 showreel was primarily shot digitally with a film section in the middle. It contains some of the raw material used in The Fountain, Tree of Life and recent commercials. Click to view.
The Fluid Perspectives showreel from 2009 contains material principally shot on film, including IMAX 15/70, 8/70, and 35mm, with music by Ian Sanderson. Click to view.
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 otherwise 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.
With his production company, Vision3, Chris has either shot or directed specialist sequences for productions from IMAX to social media and collaborates with cameramen and creatives, many of whom he has worked with for decades. They all share the same desire for that enigmatic shot that perfectly tells the story.
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.
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.
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.
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.
The incredible tale about the fantastical evolution of Bella Baxter, a young woman brought back to life. Chris was approached by the production to provide events to represent otherworldly skies for this incredible film. The shots used fabric movement, ocean currents and microscopic processes as inspiration for their form.
Chris worked with director Charlotte Colbert, as the film took shape, to create imagery that both foreshadowed the impending supernatural events and hinted at the things going on in the character's minds. Chris designed a palette of looks that became signatures for the various events and for the different characters.
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.
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.
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.
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.
The incredible tale about the fantastical evolution of Bella Baxter, a young woman brought back to life. Chris was approached by the production to provide events to represent otherworldly skies for this incredible film. The shots used fabric movement, ocean currents and microscopic processes as inspiration for their form.
Chris worked with director Charlotte Colbert, as the film took shape, to create imagery that both foreshadowed the impending supernatural events and hinted at the things going on in the character's minds. Chris designed a palette of looks that became signatures for the various events and for the different characters.
Commercials
&
Short Films
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.
As part of the launch of the iPhone 7, Apple created a film highlighting some of its key functions. Chris collaborated with Henry Hobson to create unique imagery that matched the key messages which included stereo sound, unique black finish and low light camera ability. It was the first time that Chris had worked purely in black and white.
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.
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.
Chris had worked with Chivo before when he was Cinematographer for Alfonso Cuaron's film Gravity. This time he was directing an epic commercial for Absolut.
Chris created imagery to represent the birth of the universe and the start of life on earth as well as textures and elements to work with the dynamic vision that Chivo had.
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.
As part of the launch of the iPhone 7, Apple created a film highlighting some of its key functions. Chris collaborated with Henry Hobson to create unique imagery that matched the key messages which included stereo sound, unique black finish and low light camera ability. It was the first time that Chris had worked purely in black and white.
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.
Johnny and Chris had worked together previously when Chris had supervised the 3D on a Sony commercial that Johnny directed. This time he was brought on board to create in camera elements for a commercial following a photon’s eye view from the centre of the sun to earth. Chris and team created new techniques specifically for the spot.