I came onto the project very late in the process after getting an emergency call to help push it across the finish line. I handled all of the visual effects and motion graphics, as well as cutting the final cutdowns; jumping in midstream and getting up to speed quickly to deliver under a tight turnaround.

One of the biggest challenges came from the way the devices were handled on set. The screens were taped black and weren’t active during filming, which meant this wasn’t a straightforward screen replacement. Every shot required rebuilding the device from the ground up: cleaning up the surface, restoring detail, and essentially creating a “beauty pass” before any tracking or compositing could even begin.

From there, the comps became a mix of precise tracking and careful integration. Because the screens weren’t naturally interacting with light or environment, everything had to be recreated: reflections, glow, exposure, and perspective; while still feeling grounded in the original footage. It was less about dropping content into a screen and more about making it feel like the device was actually on and functioning in-camera.

It was one of those projects where the work is meant to disappear—if everything feels seamless, then it’s doing its job.