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For this VFX reel, I wanted to show a range of before and after shots focused on one of the trickiest compositing challenges: placing graphics onto moving fabric in a way that feels physically attached to the surface.
Challenging shots
Fabric is often extremely hard to track. It wrinkles, stretches, folds, catches highlights, changes perspective, and often gets partially covered by actors or objects. The goal was to make the logo belong in the shot with believable graphic placement over fabric under very different conditions:
- Static tripod shots with subtle fabric movement
- Moving camera shots with shifting wrinkles
- Clothing deformation from body movement
- Actor interaction with the surface
- Extreme perspective changes
- Partial and full occlusion
- Highlight and texture blending
Each shot required a different approach. Across the reel, I used a combination of Mocha Pro, DaVinci Resolve Fusion, optical flow, vector warping, surface tracking, masking, and compositing techniques to solve different tracking and integration problems.
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Water, texture, and light, reframed as a moment of reflection. This piece was about finding rhythm in stillness letting color grading and sound carry the emotion instead of cuts.
I'm Victor Rodrigues, a video editor specialized in cinematic storytelling, color grading, sound design, and mood-driven visuals. I work with brands, creators, and agencies worldwide, turning raw footage into something people actually feel.
Currently open to new projects let's create something together. 🎬
📩 DM me or check the link in bio for more work.
#videoeditor #colorgrading #cinematicediting #filmmaker #contentcreator #editorforhire
Amazing shot! 🚀
Claude + After effects (Here’s the exact 5 prompts, copy them) 🧵
Prompt 0: Setup
Approach: Computer Use - from now, henceforth.
Setup: After Effects is open on Screen 2.
Goal: Configure the project and create 4 working comps, named Scene 1 through Scene 4, before anything is built. All 4 comps use the settings below.
Project settings:
Color depth: 16 bpc
Linear blending on Comp settings:
Resolution: 2880x1620, square pixels
Frame rate: 30fps
Background: warm Don't ask any questions. Build.
Prompt 1: Plan the radial scene
Setup: Same project and comp. Plexus installed. Reference: Sketch
(see first comment for the sketch btw).
Goal: A radial plexus matching the sketch. All vertices start at a single centre point and spread outward in 3D. Lines grow from the centre to each endpoint. Each endpoint carries a different image. Camera with depth of field.
Reading the sketch:
The circle is the origin. Every line starts there, none connect to each other.
Line lengths and angles vary on purpose. Keep that irregularity, don't make it a perfect starburst.
The sketch is 2D, but the build is 3D. Some lines should push toward and away from camera, not just across the frame. Current state: Nothing built for this scene yet. Constraints:
Do not touch the project. Planning only, no computer use. Approach: Consider the best possible way of achieving this. It should be able to be edited realtime as well. Prioritize using plexus Output: A recommended approach with reasons. I'll approve before you build.
CONTINUES IN COMMENT
(Attached is Prompt 1's reference image btw)
Prompt 2: Animate Scene 1 line connections
(i went back to creating the first scene)
Setup: Switch to the Scene 1 comp. Park the Scene 2 plan, we'll return to it.
Goal: Lines animate their connections, drawing from one vertex to the...
Excited to officially submit my entry for the Cantina Challenge — a psychological horror short titled Mira.
The spark for this project came from a simple, unsettling image that stuck in my head: what if the emotional weight you carry literally detached from you and stayed in the room? I wanted to translate that internal feeling of isolation into a visual reality without relying on heavy dialogue or classic horror tropes.
Project Title: Mira
Core Thesis: "Not looking back doesn't mean you're not still carrying it."
The Concept: Mira is a short psychological thriller pilot that explores the heavy, invisible weight of unresolved emotional trauma. Rather than relying on standard horror tropes, cheap dialogue, or jump-scares, the story relies entirely on grounded visual storytelling, non-verbal shadow choreography, and high-tension environmental audio.
The Protagonist: Mira
Trapped in a cycle of isolation and avoidance, attempting to project a calm exterior while her internal state deteriorates.
Key Visual Mechanics: A dynamic phone typing interaction where text messages act as a gateway to her internal state, leading up to a chilling moment where her shadow literally detaches from her body — anchored to the living room while she moves forward.
The Climax: A quiet, suffocating sequence where the ambient space collapses into total darkness, leaving her face-to-face with what she's been running from.
Why I Created This: I've always believed that every person carries immense quiet value, but when unaddressed trauma isolates us, we lose sight of our own worth. I wanted to build a character study that honors that internal struggle visually.
This is a blend of: Psychological Thriller + Surreal Character Study + Minimalist Environmental Horror.
Narrative engine: Emotional Isolation --> Unspoken Tension --> Visual Distortion --> Psychological Climax
Where I would take the series next:
Episode 1 is The Room. The engine is one locked apartment, one locked Mira, 10 visual metaphors for grief.
Episode 2 - the shadow that stayed behind now moves when she doesn't.
Creator Studio Feedback:
What worked well - precise low-key lighting, atmospheric sound design, micro-expressions.
Challenge — temporal asset consistency for the brown sofa, and precisely preserving her exact silhouette (hair, shoulder line) through the shadow's turn across frames.
Suggestion — location colour lock + shadow-direction/shape control for finer silhouette fidelity.
Confirmation: Created end-to-end in Cantina. Original work, one submission.
spooky! nice job