Hi, I’m Scott.

For fifteen years I was an avionics software engineer, specializing in flight management systems, the software that plans and flies an aircraft’s route. I left because I wanted to build more systems of my own and to express myself in the work. AI has made that possible, letting one person build whole systems and shape them around their own vision.

During my entire career, I never stopped building in my spare time: websites, computer graphics, and a lot of hours spent with art and art history. I’ve also listened to electronic music my whole life, EDM and trance especially. Somewhere along the way I discovered shaders, and I’ve been obsessed ever since with how much they can bring an ordinary image to life.

What I’m here to do

Visuals like these have usually meant a big budget, a studio and months of work. My goal is to change that: to make stunning, living visuals fast, affordable and easy to get for artists, engineers and businesses who want to bring a website, a vision or a performance to life. Many pieces take just a few days, and that speed keeps the cost down for you and lets me take on more clients.

I also make pieces just for myself, because I love doing it. Over time they’re growing into a catalog of work that patrons can use for their own purposes: on their screens, behind their sets, at their parties.

Why this isn’t AI video

I use AI openly, at almost every step. The difference is what comes out the other end. A video generator takes a prompt and hands back a clip. You can’t reach inside it, and asking for a change means rolling the dice again.

What I deliver is code. Every movement is there because I chose it, so when something looks off it gets fixed precisely instead of regenerated and hoped for. Shader effects also stack, so a nod, a breath, flowing hair and pulsing paint can all layer on top of each other, and complex movements come from combining simple ones. And because it runs live, it can lock to a BPM, react to input and play for hours without a visible loop.

What it can’t do

This method has limits, and it’s better you hear them from me up front.

• Motion stays close to the original pose. A head can nod, turn a little or tilt, and a body can sway and breathe. Walking, spinning around or big changes of pose aren’t possible.
• There’s no back side. The image becomes a relief, not a full 3D model, so anything the picture doesn’t show, like the back of a head or the far side of a face, can’t be revealed.
• The framing is fixed. The animation lives inside the source image, so the camera can’t fly around the scene, and nothing new can walk into frame.
• It needs a capable GPU. Pieces run live, so a recent laptop or desktop is best. Older phones may struggle with the heavier pieces.

Working with me

This is a new venture, so there’s no wall of logos here yet. What I can offer is fifteen years of engineering habits: clear communication, careful testing, and doing what I said I’d do.

A commission usually goes like this: we talk about the project, choose or create the source image together, I build the animation, and then I help you get it running on your screens or projector. The source image needs to be in the final aspect ratio you want, since the animation is built around its exact shape. The motion is my call, but if something small doesn’t feel right, I’ll make every effort to clean it up.