THE GIANTS
Australia’s ancient forests
2023
Project Type
Sequences for a documentary film
Production
General Strike, Matchbox Pictures
Location
Tasmanian forests
3D forest scanning
Leonard Hambrecht & Arko Lucieer
Terraluma, University of Tasmania
Role
Point cloud optimization, visual production
Tools
Unreal Engine, Notch, After Effect
In cinemas April 20, 2023
www.thegiantsfilm.com
Sequences for a documentary film
Production
General Strike, Matchbox Pictures
Location
Tasmanian forests
3D forest scanning
Leonard Hambrecht & Arko Lucieer
Terraluma, University of Tasmania
Role
Point cloud optimization, visual production
Tools
Unreal Engine, Notch, After Effect
In cinemas April 20, 2023
www.thegiantsfilm.com
Fall 2021, GENERAL STRIKE directors Laurence Billiet and Rachael Antony contacted me about collaborating on their new film project "The Giants".
“THE GIANTS EXPLORES THE INTERWINED FATES OF TREES AND HUMAN IN THIS CINEMATIC PORTRAIT OF ENVIRONMENTAL FOLK HERO AND GAY ICON BOB BROWN WHO TOOK GREEN POLITICS TO THE CENTER OF POWER.
FROM SEEDLING TO FOREST ELDER, WITNESS THE EXTRAORDINARY LIFE OF BOB BROWN INTERTWINED WITH THE STORY OF AUSTRALIA'S ANCIENT TREES.”
My participation in this project was to create multiple contemplative or informative sequences to illustrate different behaviors of trees (growth, communications, interconnections, protections, water circulations...). The sequences would then be inserted into the documentary among the real sequences in order to propose a new vision of the forest.
Official trailer: https://youtu.be/OOYYQgzVx70
Official behind the scene: https://vimeo.com/811122682
(more details on the process below)
“THE GIANTS EXPLORES THE INTERWINED FATES OF TREES AND HUMAN IN THIS CINEMATIC PORTRAIT OF ENVIRONMENTAL FOLK HERO AND GAY ICON BOB BROWN WHO TOOK GREEN POLITICS TO THE CENTER OF POWER.
FROM SEEDLING TO FOREST ELDER, WITNESS THE EXTRAORDINARY LIFE OF BOB BROWN INTERTWINED WITH THE STORY OF AUSTRALIA'S ANCIENT TREES.”
My participation in this project was to create multiple contemplative or informative sequences to illustrate different behaviors of trees (growth, communications, interconnections, protections, water circulations...). The sequences would then be inserted into the documentary among the real sequences in order to propose a new vision of the forest.
Official trailer: https://youtu.be/OOYYQgzVx70
Official behind the scene: https://vimeo.com/811122682
(more details on the process below)
EXCERPTS COMPILATION
captures
PROCESS
In collaboration with the directors we categorized the different sequences and I created visual scenarios for each behavior or concept to illustrate. We also thought about the atmosphere to give to each place to be consistent with the images captured on location.
In the end I exported about 85 sequences and variations in 4K resolution, to let the team choose the best framing during editing.
For the creation of the sequences, once the point clouds were processed and optimized, I used real-time creation tools like Notch and Unreal Engine. This way I could experiment visually much faster and keep spontaneity throughout the creation phase.
During the first stages of the conception, we exchanged a lot with Laurence Billiet to talk about the different places captured and their specificities.
I had the chance to work with the University of Tasmania to process the Lidar data captured from the ground or by drone. I also collaborated with the teams on site during the shooting phases to capture images to reconstruct models via photogrammetry.
A lot of experimentation, both technical and visual , processing on point clouds and exchanges with the directors to succeed in finding graphic treatments adapted to the behaviors and associated with the narrative of the film.
In the end I exported about 85 sequences and variations in 4K resolution, to let the team choose the best framing during editing.
For the creation of the sequences, once the point clouds were processed and optimized, I used real-time creation tools like Notch and Unreal Engine. This way I could experiment visually much faster and keep spontaneity throughout the creation phase.
During the first stages of the conception, we exchanged a lot with Laurence Billiet to talk about the different places captured and their specificities.
I had the chance to work with the University of Tasmania to process the Lidar data captured from the ground or by drone. I also collaborated with the teams on site during the shooting phases to capture images to reconstruct models via photogrammetry.
A lot of experimentation, both technical and visual , processing on point clouds and exchanges with the directors to succeed in finding graphic treatments adapted to the behaviors and associated with the narrative of the film.
Process captures
PHISH,SPHERE LAS VEGAS
LIVE VISUALS
2026
Project Type
Music visuals
Location
Sphere, Las Vegas
My role
Motion graphics
Tools
Notch
Location
Sphere, Las Vegas
My role
Motion graphics
Tools
Notch
As a Notch Artist, I contributed to the development of music visual content for an immersive installation presented at the Sphere in Las Vegas (April 2026).
My work focused on creating various generative sequences into a large-scale scenographic installation, in close collaboration with the Moment Factory production team.
My work focused on creating various generative sequences into a large-scale scenographic installation, in close collaboration with the Moment Factory production team.
PROCESS
Chien 51
vfx sequences
2025
Production
Chi-Fou-Mi Productions, Les Artizans
Location
Paris, France
Role
Visual concept proposal
Tools
Unreal Engine, Notch, After Effect
In cinemas October 15, 2025
Chi-Fou-Mi Productions, Les Artizans
Location
Paris, France
Role
Visual concept proposal
Tools
Unreal Engine, Notch, After Effect
In cinemas October 15, 2025
Earlier this year, I had the chance to propose some visual concepts for french director Cedric Jiminez's latest movie, Chien51 (in theaters October 2025).
“In a near future, Paris has been divided into three zones separating social classes, where the artificial intelligence ALMA has revolutionized police work. Until its inventor is murdered and Salia and Zem, two police officers who are complete opposites, are forced to work together to investigate the case.”
Collaborating with VFX supervisor Cedric Fayolle and Melodie Robert (Les Artizans), who lead the visual effects for this project, we aimed to bring to life the vision of ALMA, the artificial intelligence featured in the script.
Based on LIDAR scans of the film's shooting location in Paris, I interpreted the data to propose a unique vision of what ALMA's view might be.
“In a near future, Paris has been divided into three zones separating social classes, where the artificial intelligence ALMA has revolutionized police work. Until its inventor is murdered and Salia and Zem, two police officers who are complete opposites, are forced to work together to investigate the case.”
Collaborating with VFX supervisor Cedric Fayolle and Melodie Robert (Les Artizans), who lead the visual effects for this project, we aimed to bring to life the vision of ALMA, the artificial intelligence featured in the script.
Based on LIDAR scans of the film's shooting location in Paris, I interpreted the data to propose a unique vision of what ALMA's view might be.
Living Architecture: Gehry
Refik Anadol Studio × Guggenheim Bilbao
2025
Project Type
Immersive video projection
Location
Guggenheim museum, Bilbao
My role
Art Direction, Motion graphics
Tools
Notch
Location
Guggenheim museum, Bilbao
My role
Art Direction, Motion graphics
Tools
Notch
As a pioneer of generative art, Refik Anadol creates monumental works in which data becomes a living material. At the Guggenheim Bilbao, he has designed an immersive installation that draws on decades of Frank Gehry’s archives—plans, sketches, and photographs—to create a dialogue between artificial intelligence and the iconic architecture of the museum that hosts it.
Refik commissioned me to visualize the building’s technical plans, translating structural documents into immersive visual compositions on the scale of the gallery. This work accompanies the transition from raw archives to the latent spaces of AI, at the heart of the work’s first chapters (Data Universe, Data
Plotting).
Refik commissioned me to visualize the building’s technical plans, translating structural documents into immersive visual compositions on the scale of the gallery. This work accompanies the transition from raw archives to the latent spaces of AI, at the heart of the work’s first chapters (Data Universe, Data
Plotting).
The Giants immersive
immersive experience
2025
Project Type
Immersive experience
Role
Co-direction, Visual production
Production
General Strike
Culturespaces Studio
Duration
10 minutes
Locations
Bassins des Lumières, Bordeaux, France, 2025 Alt Eff Film Festival, Bangalore, India, 2025
Melbourne Museum, Melbourne, Australia, 2026
Role
Co-direction, Visual production
Production
General Strike
Culturespaces Studio
Duration
10 minutes
Locations
Bassins des Lumières, Bordeaux, France, 2025 Alt Eff Film Festival, Bangalore, India, 2025
Melbourne Museum, Melbourne, Australia, 2026
THE GIANTS is a unique immersive experience that transports the audience to the heart of Australia's ancient forests, to enter a dizzying world of excess: home to some of the tallest and oldest trees in the world.
The experience is structured around the life cycle of trees, from the moment they are born, breathe, feed and even communicate with each other, underground or through the air. And along the way, these trees create the water we drink and the oxygen we breathe.
Combining science and poetry, spectacular cinematography and computer-generated images obtained by 3D scanning of these great Tasmanian primary forests, THE GIANTS illuminates the invisible forces that animate the trees around us and offers the audience the opportunity to lose themselves in these sublime distant places - from the Valley of the Giants, home to the 'Australian Redwoods' to the 65-million-year-old forest of the Tarkine/takayna in Tasmania.
The experience encourages the public to see trees from a different perspective and, we hope, inspires them to protect them.
THE GIANTS is a collaboration between the Melbourne-based studio General Strike and the artist Alex Le Guillou.
The experience is structured around the life cycle of trees, from the moment they are born, breathe, feed and even communicate with each other, underground or through the air. And along the way, these trees create the water we drink and the oxygen we breathe.
Combining science and poetry, spectacular cinematography and computer-generated images obtained by 3D scanning of these great Tasmanian primary forests, THE GIANTS illuminates the invisible forces that animate the trees around us and offers the audience the opportunity to lose themselves in these sublime distant places - from the Valley of the Giants, home to the 'Australian Redwoods' to the 65-million-year-old forest of the Tarkine/takayna in Tasmania.
The experience encourages the public to see trees from a different perspective and, we hope, inspires them to protect them.
THE GIANTS is a collaboration between the Melbourne-based studio General Strike and the artist Alex Le Guillou.
PROCESS
