Credit: digital asset artist: Red Knuckles

This project was a little different from the work I usually do. The band’s 50th-anniversary live show featured visuals for every song, and I worked on the classic “The Rime of the Ancient Mariner,” a 13 minute piece (!!!). My role was to transform the concept line art from the storyboard and animatic into illustrations using generative AI. It was an interesting process: the final images needed to remain faithful to the original concepts while matching the visual style the band wanted. The artwork also had to be delivered in layers so another team could animate it later. In total, I generated more than 80 images over two months of work.

As a fan of the band, creating visuals (even Eddie) to the show was an incredible experience.

There's no official video online yet, but it's possible to see some of the work recorded by fans on Youtube from the live show:

The Velveteen Rabbit, a film on which Boundary Visual Effects completed more than 150 VFX compositing shots in 2023, was nominated in six categories at the 3rd Annual Children’s & Family Emmy Awards. The film won two awards in March 2025: Best Fiction Special and Best Young Performer in a Preschool, Children’s, or Young Teen Program (Phoenix Laroche).

Congratulations to Magic Light Pictures!

This is the fourth year that Boundary Visual Effects has worked on the UAE National Day celebration. My role was compositing supervision, and I was also responsible for the technical pipeline that moved shots smoothly from editorial to our team and back again.

This year was especially challenging. We completed “invisible” VFX work on almost every shot of the show, more than 210 shots in less than 48 hours. That would not have been possible without a reliable pipeline.

Shots are ingested automatically from editorial through a Python API that sends published edit shots to our Kitsu shot manager. Compositing supervisors and VFX producers assign artists, who can then create shots automatically in Nuke using established compositing templates. Once a shot is rendered and approved, it is returned to editorial or colour and updated in the timeline for publishing. Naming conventions, versioning, and automated safeguards reduce human error and let the team focus on the work.

I would like to thank the 12 VFX artists who worked non-stop in shifts to make this happen, as well as Red Knuckles and DONE+DUSTED for their trust.