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Parting Us by Albert Hooi and TJ O’Grady Peyton

Parting Us is a short documentary by Albert Hooi and TJ O’Grady Peyton about the lives of 15 people living in Ireland during the first phase of the country’s lockdown due to COVID-19. I was tasked with this VFX shot when Albert came to me with the idea.

The shot involved 3d camera tracking, stabilization and rotoscoping. Check out the shot and breakdown below.

Color grade done by Peter Oppersdorff at MPC London and music by Daithí.

Parting Us VFX Breakdown by Colm Moore

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‘They’ is an exploration of race and identity in modern society. It was written and performed by rapper @jafarismusic and poet @felispeaks, and we collaborated with an amazing team of diverse Irish artists to create this film — a safe space and an illustration of these powerful and important words.

— Ellius Grace, Director

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Mocha Pro rotoscope in AE2019

My small contribution was to the final shot in which Jafaris floats above the city and the sea. I was brought in early on to chat about the shot and how we might pull it off. We decided to take a simple, quick approach in which we try to use the sky as a sort of blue screen from which I could pull a key. The idea was easy; Jafaris would be framed on a rock/boulder against the blue sky and he would jump in a floating pose while the camera is rolling at 120fps. …

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An experiment in using Google Earth 3D data to render a semi-realistic video of the city and lighting it dramatically with Arnold Sky. It involved capturing the Google Earth data, simplifying it in MeshLab, UV unwrapping it in Blender and finally animating in Cinema4D.

Check out the shot and the VFX breakdown below.

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Denise Chaila at the National Gallery of Ireland

As a response to the Covid-19 crisis, Other Voices tasked Tiny Ark with the challenge of live streaming Ireland’s top acts into the homes of everyone in Ireland and the globe. With the hope of bringing a moment of happiness and joy to the viewers twice a week, we showcased 20 artists in some of Ireland’s most recognisable and iconic venues all across the country.

For each shoot day I was working as 1st AC (focus puller), drone operator and photographer. While not on set I was designing the motion graphic animations unique to each stream and the graphics for the TV show on RTE. Taking on multiple roles on set was due to the skeleton crew we designed in order to comply with government guidelines and keep everyone on set safe during production. …

Warped World!

The flatland technique was inspired by photos from Aydın Büyüktaşb, an amazing drone photographer from Istanbul. The process is fairly simple but requires quite a bit of work in post production. I’ll cut to the chase.

You’ll be taking a series of photos with a drone. You’re going to need a ‘subject’ which is the main focus of the photo. As you take the sequential photos you’ll be moving the drone and changing the pitch of the camera. Let’s begin.

To start, turn on the rule of thirds bars in the DJI GO app. This will help you align all the photos. I always chose a point on the first photo (e.g. the horizontal part of the bottom of the roof the the main building) and remember where that is in relation of one of the bars on the screen. The first photo you take should be from a height of roughly three or four meters; wherever the drone hovers nicely and doesn’t sway too much. As low as possible is what you’re going for here. The camera will be pointing directly at the subject. You can see where this photo was used below. …

This past weekend marked my two year anniversary as a concert photographer. I got my first press pass for Forbidden Fruit Festival in Dublin and shot the entire weekend as the ‘semi-official’ photographer for the festival. That was extremely lucky and opened up a lot of doors for me — I will go into that later. In the next few paragraphs I’m going to go through the things I wish I knew when I was starting out and hopefully help to inspire some new photographers to get into this exciting and rewarding genre of photography.

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Warpaint at Forbidden Fruit 2014, Dublin

You really don’t need the best equipment

I’ll start this off by telling you a bit about my kit and what’s in my camera bag. It’s pretty basic (an understatement) and hasn’t changed much in the past two years unfortunately but I feel it has made my photography a lot better. I’m constantly being restricted by the limitations of my camera and lenses but the more I use it the more I learn and I feel like it’s making me a better photographer. All the photos you will see on this page would have been taken on my beat up Nikon D90 and a couple of lenses including the Nikkor 50mm f1.8, Tokina 11–16mm f2.8 and the Nikkor 70–300mm f4–5.6. There are also a couple of lenses I borrow every now and then which are the Nikkor 35mm f1.8 and the Nikkor 10.5mm f2.8. Top-tip: If you’re starting out and have friends who have DSLR’s, always buy the same brand as them so you can beg, borrow and steal lenses from them when you need them! …


Colm Moore

VFX Artist & Video Editor from Dublin, Ireland with a background in photography // //

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