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SHOWREEL
GET TO KNOW EMILY
Can you describe the extent of any relevant work experience you might have?
I volunteered as a runner on a commercial shoot with RD Content, a leading international production company. It was a fast-paced two-day project where I supported the production crew with whatever was needed, from helping with equipment and set logistics to making sure the team, talent, and client were looked after. I didn’t have any prior on-set experience, so being part of a professional shoot was incredibly eye opening. I had the chance to speak with people across a range of departments, which gave me a much better understanding of the different roles within the industry. I found myself particularly drawn to the Visual Effects team, which helped shape my interest moving forward and gave me a clearer idea of where I wanted to develop my skills.
In addition to this, I worked as a Junior Compositor on the short film Odd Socks, directed by David Ledger. I took this on in addition to my university studies, which made the experience even more valuable. I worked on both prep work and integrating clean plates on selected shots, collaborating closely with other students to bring the visuals together in line with the director’s vision. The project gave me a much better understanding of how post-production works in a professional environment, where meeting deadlines, collaborating effectively, and delivering high-quality work are essential for the success of a project.
I also assisted on a project for RD Content, cleaning up shots on a natural history documentary for one of the largest and most recognisable companies in the world. This experience gave me the opportunity to apply my skills in a professional setting and under the highest scrutiny whilst gaining professional experience and deepening my understanding of post-production workflows.
How would you describe your contribution to your group project?
In the project AFK, I took on dual roles as both Producer and Compositor. The Producer role was new to me, and I had to quickly learn how to manage the team effectively, ensuring that everyone was on track and adhering to deadlines. I worked closely with the 3D Lead, 2D Lead, Animation Lead, and Director to ensure smooth communication across departments and that everyone was aligned with the project’s vision. I also facilitated feedback sessions, ensuring the team was receptive to feedback and keeping everyone on the same page. This role challenged me in ways I hadn’t expected, but it was a valuable learning experience that greatly enhanced my organizational and leadership skills.
As a Compositor, I worked closely with the other students to prep our plates and CG integration, ensuring consistency across all the shots. With a large number of shots to manage, collaboration was key. We maintained close communication to ensure that our compositing work matched seamlessly and that we were all aligned in terms of the visual style and technical requirements. This collaborative approach ensured continuity and a cohesive final product for the project.
What do you specialise in and what made you choose that specialism?
I initially started my degree in Game Art, but during the first year, we were introduced to various specialisms, and compositing immediately stood out to me. After that, I spoke with several tutors from different sectors, including compositors like Klaudija Cermak, who quickly confirmed that this was the specialism for me.
While it’s a creative discipline, compositing also has a strong technical structure, which really appeals to me. There are clear processes to follow, lots of problem-solving involved, and working in node-based systems adds a logical and structured flow to the work. I enjoy the balance between technical precision and creativity, it’s a space where both sides of my thinking can thrive.
I’m also particularly drawn to photorealism, which ties into my interest in photography and my attention to visual detail. As one professional once said to me, “It’s so rewarding when people ask, ‘What did you do?' and I’ve found that especially true in compositing, where the best work often goes unnoticed, but makes all the difference.
What would your ideal first role in the industry be?
Roto/Prep Artist
Which of your student projects are you most proud of, and why?
I’m most proud of the Kuru sandworm project we completed at the end of our second year. It was our first group project, and it went incredibly smoothly. We explored different ideas as a team and all quickly aligned on one we were passionate about. Everyone was committed, we communicated really well and collaborated closely throughout the process, which allowed us to produce something we were all genuinely proud of.
The project was inspired by Dune, so we had strong visual references to guide our creative direction. We were so pleased with the final outcome that we submitted it to The Rookies, where it was drafted by the judging team. That recognition gave us a real confidence boost and made the experience even more rewarding. Considering it was our first group experience, I was really proud of what we were able to achieve together so early on.
What’s a piece of media (film, game, animation) that changed the way you think about your discipline?
Gladiator (2000) stands out to me for its seamless use of compositing. While the film is mostly known for its strong performances and gripping story, it also made me realize how compositing plays a key role in creating realistic environments and truly bringing the story to life. What struck me the most was how they achieved such impressive results with fewer resources compared to today’s films. It reminds me that compositing isn’t just about integrating elements for the sake of it, without VFX, a film like Gladiator couldn’t exist in the way it does. Visual effects helps immerse viewers within the story by recreating environments that are crucial for the narrative. It’s a powerful tool that allows filmmakers to transport the audience into worlds that wouldn’t be possible otherwise, bringing the director’s vision to life and deepening the viewer’s experience.
However, what truly shaped my understanding of compositing came when I started noticing when it was done poorly in other films. When compositing is done well, it’s invisible, but when it's done poorly, it pulls you out of the story and breaks the immersion. That’s when I truly grasped the importance of compositing.
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