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ETERNITY’S GRACE - 20Min. Short Film
ROLES: PRODUCER • SFX AND VFX PRODUCER / SUPERVISOR • ACTOR • VFX ARTIST
Project Summary: Eternity’s Grace is an experimental short film exploring the intersection of AI, virtual production, and live-action filmmaking. The project combined real footage of actors and practical sets with AI-generated environments to create cinematic worlds beyond the limits of a small-scale production. Using an ARRI camera linked to Unreal Engine for digital camera tracking, the film experimented with depth maps, early NeRF technology, motion capture, and multiple digital environment workflows to seamlessly blend real and synthetic imagery.
My Work: As SFX and VFX Producer on Eternity’s Grace, I helped develop the film’s overall production pipeline, combining practical filmmaking with emerging AI and virtual production technologies. The project was designed as an experiment to explore how far early AI tools could be pushed at a time when the technology was still extremely limited, using them as creative extensions rather than replacements for traditional filmmaking.
We worked with real actors, built practical sets and a full-scale train environment, and collaborated with professional concept artists to establish the visual world of the film. Alongside managing the SFX and VFX budgets and workflows, I also supervised compositing and the integration of live-action footage with digital environments created through Unreal Engine tracking, depth maps, early-stage NeRF experiments, and motion capture performances.
As the project expanded, I was promoted to Full Producer, overseeing the Kickstarter campaign, festival strategy, award submissions, and the broader production and distribution management of the film.
Software’s used: Da Vinci Resolve (Full License), Photoshop, After Effects Blender, Fspy
Number of Crew: 18 members involved
Budget used: £6000
C R E W P H O T O
S T I L L S
B E H I N D T H E S C E N E S V I D E O
B T S P I C T U R E S
B U I L D I N G T H E T R A I N
3D MODEL OF THE TRAIN SKELETON WAS MADE, INCLUDING CABLE POSITIONING FOR THE LIGHTS AND SMOKE TUBES
M O T I O N C A P T U R E
THE INDIVIDUAL PIECES WERE DESIGNED IN EXACT MEASURES, LAZER CUT AND BUILD TOGETHER, TO FORM THE SKELETON OF THE STRUCTURE
USING PADDINGS AND A THERMALPLASTIC LAYER OVER THE SKELETON THAT I CAN SCULPT AND STUCK ELEMETS OVER, PLUS AN INTERIOR TUBING SYSTEM FOR THE SMOKE TO FLOW
LIGHTS WERE SET, DECORATIONS WERE ADDED, AND PAINTED OVER
AFTER FINALISING AND TESTING, WE SHOT ON A BLUE SCREEN AS IT WAS LESS REFLECTIVE THAN A GREEN SCREEN FOR VFX
This project was conceived as an early exploration of AI-driven filmmaking, testing how emerging technologies could expand storytelling beyond the limits of small-scale productions. By combining real footage of actors and practical sets with AI-generated environments, we experimented with hybrid workflows that blended the real and the digital.
Using an ARRI camera connected to a motion controller and linked to Unreal Engine, we achieved digital camera tracking for seamless integration between live-action and virtual environments. We also generated depth maps, explored early-stage NeRF technology, and tested multiple workflows for building and compositing digital environments.
VFX
For a dance sequence in the film, the characters are surrounded by dancing “sand figures.” To achieve their movement, we used motion capture suits to record and translate real performances, allowing the digital figures to mirror the choreography with precise, fluid motion.
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