Westworld (Seasons 1 & 2) — Senior VFX Compositor
HBO · Tasks: muzzle flashes, blood gags, set cleanup, extensions, photo replacements, glass work
Tools: After Effects, Mocha Pro, Photoshop
Scope: Two seasons (20 episodes) of work across multi-shot sequences featuring heavy weapon effects, complex glass reflections, set pieces, performance transitions, and environmental cleanups.
Solution: Delivered high volumes of muzzle flashes and blood gag composites across gunfight sequences. Removed extensive crew and camera reflections in large glass set pieces, often requiring recreation of background elements behind the glass. Applied 3D camera tracking for parallax-accurate comps, including freezing characters into 2D card projections broken into multiple layers for depth. Created several set extensions, tracked and fully integrated. Executed the memorable “hat transition” sequence aging a character from young to old, as well as challenging photo replacements—including one composited into a plastic evidence bag.
Outcome: Seamless, invisible effects that preserved the cinematic feel while enabling complex storytelling. Contributions balanced subtle cleanups with signature visual moments integral to the show’s narrative.
Added muzzle flashes, smoke, powder hits and blood.
Added fire, smoke and floating embers throughout scene. Painted gate on back of wagon.
Recreated and animated Ed Harris’ hand and other objects to remove camera crew reflections. Added monitor and other random, subtile reflections.
A few of the screen comps, tracked and integrated with extracted reflections placed over the top.
I created set extensions behind actors. Matchmoved and added light and slight lens flares to match practical shots at the beginning of the sequence.
The most challenging photo replacement I’ve ever done with additional painted plastic bag.
I created the transition revealing Williams identity with paint, warp stabilization & scale.
Bluescreen door set extension. Roto and camera tracked for parallax.
Character frozen and placed on 2D cards in 3D space. Cards were broken up into sections (upper arm and forearm) to allow for parallax. There were many shots like this that I did for Westworld.