I'm Henrik Bach Christensen. A feature's effects are a few thousand elements moving through dozens of artists and vendors in several countries — every one of them with versions, dependencies and a delivery date nobody can move. Nineteen credits since 2010: supervising that on Miss Viborg and Breeder, compositing on Netflix's first Danish series and on Bille August's A Fortunate Man, and now running Wangle Media as CEO.
The whole career has sat in the seam between the creative work and the machinery that ships it. I build software on that same ground, and I advise businesses putting new technology to work — which is a systems problem long before it is a tools problem.
I have run companies for twenty years, and productions for longer. Both are the same discipline: work out what the thing actually consists of, decide which parts are rules and which need a person, and build something that delivers on the date. That is the seam most businesses are standing in right now.
The question is never which model or which app. It is what your work actually consists of, which parts of it are rules, and where a machine can be trusted with a step. I have built pipelines that thousands of assets pass through — the shape of that problem is the same one underneath "we should be using AI for this".
Agentic workflows, generative image and video. I use them daily and ship software built on them, so I can tell you which parts of your operation they genuinely change and which are a demo that does not survive contact with real work.
Conventional SEO, and GEO — whether ChatGPT, Google's AI Overviews and Perplexity name you when somebody asks for what you sell. Related problems with different answers, and the second matters more every quarter.
Two decades of budgets, vendors and schedules, and of watching where productions go wrong. Useful if you are buying content, or working out whether to bring any of it in-house.
A review of your digital presence: the site, search, speed, analytics, and the gap between what you actually offer and what a visitor can find. You get the findings and the order to fix them in — a document you could hand to somebody else, not a retainer.
Worth saying plainly: this side of the practice is newer than the twenty years of screen work further down, so what I can show you is the work itself rather than a wall of client logos. And this page is built the way I would build yours — static files on Cloudflare's edge, no tracking scripts, no third-party requests, and no cookie banner because there are no cookies.
Free, and built the way the effects work taught me: do the heavy lifting locally, and don't make anyone wait for a progress bar that did not need to exist.
A video converter that never uploads anything. It runs a WebAssembly build of FFmpeg inside the page, so your footage is read straight off your disk, converted by your own processor, and saved back — with no file-size ceiling imposed by somebody's upload limit.
A growing collection of free AI and media tools that need no cloud: transcribe audio and video, edit and unlock PDFs, clean up recordings, convert between formats, tune an instrument. The models run on your hardware, which is why there are no limits and nothing to sign up for.
Written for my own work and left public: an engine for on-device transcription, a bridge for agents, and tools that came out of compositing and photogrammetry. Everything listed here is mine — no forks of other people's projects.
Local-first speech-to-text for the browser: Whisper on WebGPU and WASM, with WebNN acceleration. The audio never leaves the device. This is what does the transcribing on yourdevice.app.
An MCP server for Blackmagic Fusion Studio: inspect, build, modify and render comps inside a live Fusion session over fusionscript. Written because an assistant that can read a comp is more use than one that cannot.
Wakes a persistent AI agent when a peer writes to a shared channel, so the agent reacts to events instead of polling for them. Pluggable, and works across machines over Syncthing.
Generates AprilTag fiducial markers for photogrammetry and computer vision — the things you stick on set so the track has something honest to hold on to.
Prepares DNG image sequences for RealityCapture, with a GUI, so a shoot can go from card to solve without hand-editing every frame.
The rest is on github.com/CphVisuals and github.com/hensenx.
Nineteen credits on features, television and short film. Supervising means owning the whole chain — elements, artists, vendors, versions, and the date. Partner and VFX supervisor at Redeye Film from 2010, then Cph Visuals under its own name, and Wangle Media since 2020.
Eleven of nineteen. The full list is on IMDb.