LIV Golf - Waterloo Train Station. London, UK.

The screen 🖥️

London’s Waterloo Station, the UK’s busiest rail hub with over 94 million annual journeys, hosts multiple JCDecaux digital advertising screens, including the iconic Waterloo Motion, a 40x3-meter LED display with 6720x480 pixel resolution situated in the main concourse.

The project

One of the busiest tran stations in the UK. Tight deadlines and after 3 days the project was going to get outsourced to a different agency , pressure was on 😅

I managed to pull through and deliver this. Clients more than happy in the end after a tough start.

Tasked with a player reveal animation for this Ultra wide screen at Waterloo train station, London , UK. After collaborating on the idea with my college (at P54) we pitched the collage tear style animation to the LIV Golf media team, they loved it - this is the point the project turned around. I think before hand we were struggling with a creative idea for the player reveals. Once we had the idea down, I downloaded a animation pack for the tear from envato (easy) and then layered up inside the AE widescreen composition , adding glitch effects and small alterations to each tear animation to keep it interesting. A well thought out idea here , and understanding of what is and what isn’t possible , made execution and workflow straight forward when ensuring tight deadlines were hit. LIV Golf London was on the horizon and a time slot for digital advertisement at Waterloo station had been paid and booked.

Universal studios, Paramount Pictures (XYI)

Top Gun Maverick

Jurassic World

The projects 🌎

At XYI, I contributed to a variety of international projects, focusing on the localisation of titles for regions across Asia, the USA, and multiple European destinations. My role centred on using industry-standard software, including After Effects, Illustrator, and Maxon Cinema 4D, to create and adapt 3D titles for diverse languages. This process often demanded creative workarounds to address linguistic nuances, such as unique characters and accents.

I typically received a master file from the company’s headquarters in LA, which served as the foundation for localisation. My task was to modify this file to incorporate the appropriate lettering for each target language. The illustration team provided 2D outlines of the titles—spanning languages like French, English, or Korean—for each project. As a member of the motion team, I was taught how to integrate these outline AI files into the master Cinema 4D/AE files to update and localise for motion graphic projects.

Once this process had been completed localisation of titles for motion graphics required a number of technical adjustments, such as tweaking shading and lighting in Maxon Cinema 4D and refining masking and layers in After Effects. These changes were just some of the many workarounds needed to meet project demands. The work grew more complex with multi-screen out-of-home projects, which involved adapting titles and master files to various aspect ratios. We were often only provided with master files in standard 1920x1080 landscape and 1080x1920 portrait orientations, making it our responsibility to ensure compatibility with custom screen sizes.

Ultra-wide screens presented a particular challenge, as the master files weren’t always flexible enough to adapt easily. When adjustments were necessary, I collaborated with clients, presenting proposed changes and iterating on versions through back-and-forth discussions until final sign-off was secured

No Time To Die

Titles worked on

Out of house screens - Digital Advertisement

Aramco Team Series- Riyadh Boulevard. Riyadh, Saudi Arabia.

The project 😎

At Riyadh Boulevard’s multi-screen complex in Saudi Arabia’s capital, I collaborated with P54 on the Aramco Team Series, delivering high-quality video content under tight deadlines. Tasked with animating text to flow seamlessly across multiple screens, I faced challenges due to varying screen sizes and positioning.

My expertise for this project played a huge role in delivering quality work on time to the clients.

The biggest challenge was to animate text which flowed from screen to screen, difference in screen sizes and screen positioning proved challenging when aligning the text between multiple screens inside After Effects. The goal was to make the animation appear connected and fluid.

To navigate this , I noted down the position co-ordinates of each text layer and applied appropriate incremental changes inside each composition to ensure the animation aligned on all screens.

SCREEN GRABS 💾