Fluid Films

The 2015 showreel was primarily shot digitally with a film section in the middle. It contains some of the raw material used in The Fountain, Tree of Life and recent commercials.

Chris's pursuit of achieving what would normally be considered VFX shots, in camera, doesn't stop at his fluid effects and cloud tank photography. Whether designing specialist optics to get the right shot, using aerial imagery to bring otherwise out of focus backgrounds into the same focal plane as close ups, or using techniques like Gaussian Splatting to create digital assets in camera, Chris is a champion of in camera techniques. 

With his production company, Vision3, Chris has either shot or directed specialist sequences for productions from IMAX to social media and collaborates with cameramen and creatives, many of whom he has worked with for decades. They all share the same desire for that enigmatic shot that perfectly tells the story. 

The Fluid Perspectives showreel from 2009 contains material principally shot on film, including IMAX 15/70, 8/70, and 35mm, with music by Ian Sanderson.

Ant Man VFX supervisor, Jesse Chisolm, approached Chris about creating skies for the Quantum Realm. They were looking for something organic that suggested the sub atomic scale of the world. Chris shot for two weeks creating environments and the imagery for the credit sequence.

The incredible tale about the fantastical evolution of Bella Baxter, a young woman brought back to life. Chris was approached by the production to provide events to represent otherworldly skies for this incredible film. The shots used fabric movement, ocean currents and microscopic processes as inspiration for their form.

The director, Justin Kurzel, brought in Chris to create visuals to represent memory and past experiences. Chris drew on the double helix idea of DNA where particularly violent memories are stored Chris developed variations on this visual style for The Animus as a signature for time travel as well as a visual representation of memory itself.

In the 1980's, when Terrence was in the early stages of planning his epic film, he approached Peter Parks to shoot some marine imagery. 30 years later once principal photography was under way he got in contact with Chris to shoot some abstract imagery for the 'Life before birth' and 'Universe before the big bang' sequences.

Chris and Peter Parks were commissioned by Darren to produce their special brand of organic fluid effects. In order to make his vision of space timeless, Aronofsky steered clear of traditional computer graphics and instead shot with Chris and Peter over a period of 8 weeks to produce something that was unique and would not age.

Chris collaborated with director Lance Oppenheim in a documentary following three unregulated online sperm donors, made by FX with The New York Times in Lance’s heightened, formally stylised manner. Chris developed the internal world, both of contraception, failed or successful, and also the brain’s chemical swings as the characters’ moods swing wildly.

Darren and Chris again worked together on Postcard from Earth, arguably the most technically advanced film project in history. The production was described as building the plane while flying it. Chris build a whole new optical system to enable the resolutions needed for the incredible 18k screen, even exploring capturing two lightpaths down a single lens.

Macro chemical photography for the sequences rooted in Norse mythology — Yggdrasil, Valholl and the Place of Visions — paired with CG constructions and held inside the gritty realism of the film.

For Dom Perignon's 2025/2026 campaign that explored the creative process of stars including Zoë Kravitz, Anderson .Paak, Tilda Swinton and Iggy Pop, they enlisted Chris' help in envisioning what creativity might actually look like with content created for both screen and print.

Chris and Daniel's sixth project together saw the collaborating on an Apple commercial that saw the element tungsten, a USP for the new iPhone, travelling to earth before being forged into the iPhone 15. Dan Williams was brought on by Daniel as VFX supervisor and he and Chris created the adrenaline fuelled journey from the edge of the universe to the palm of your hand.

Chris worked with Bioscope films to create the manufacturing of not only the glass bottle but also the contents that fill it. Chris used both his signature fluid events for the sequence but also shot some of the raw ingredients, including sand, silica and glass.

When Sam Pilling and Pulse decided to project images of the Aurora Borealis onto the Rolls Royce Phantom, they came to Chris to create the imagery. Using a combination of modern day glassware and some 180 year old lenses, Chris and the team were able to achieve miniature Auroras in no more than a cup of fluid.

For Moët et Chandon and their 'Must Be Moet' worldwide campaign, Chris was again asked to create visuals to suggest something abstract - in this case it was 'the memorable moment', those instances in life when everything comes together into something unforgettable. Directed by Manu Cosu the results are truly stunning.

As part of the launch of the iPhone 7, Apple created a film highlighting some of its key functions. Chris collaborated with Henry Hobson to create unique imagery that matched the key messages which included stereo sound, unique black finish and low light camera ability. It was the first time that Chris had worked purely in black and white.

Chris worked with Creative Director Daniel Morris to create elements for this epic ident for Omniplex Cinemas. Collaborating directly with Gabha VFX, Chris created elements for everything from sparks and start to the universe and black holes. Rather than adhering religiously to existing imagery he drew on his work with Professor Brian Cox and instead worked towards a representation of the science and processes involved.

Ninety seconds telling a young man's life in reverse, from an emergency aboard a nuclear submarine back through graduation, university and school for the US Navy. It ends “There's smart, then there's nuke smart.” Released 13 December 2024. The second time working on a project shot by Linus Sandgren after Chris’ stereo supervision on No Time to Die, he and the team were looking to create events that inhabited that ambiguous space between chemical and nuclear processes and the processes within the man’s brain.