Known for Art
After assisting production designer Fiona Crombie on Garth Davis’ MARY MAGDALENE shot on location in Italy for See Saw Films, Ruby has forged an impressive trajectory into long-form production design, including the first season of Nash Edgerton’s celebrated series MR INBETWEEN for FX and Foxtel; the Australian box office hit THE DRY, adapted from Jane Harper’s best-selling novel for writer/director Robert Connolly and produced by Made Up Stories; and the fourth season of TOP BOY for Cowboy Films and Netflix, shot in London. In 2022, Ruby Associate Production designed Garth Davis’ feature film FOE, production designed by Patrice Vermette, starring Paul Mescal and Saoirse Ronan for See Saw Films, Anonymous Content, and Amazon Studios. In 2024, Ruby is in production on WOLF MAN for writer/director Leigh Whannell, starring Christopher Abbott and Julia Garner, produced by Blumhouse Productions and Universal Studios. Information above via their homepage.
Filmography
5 films


Wolf Man
2025 · 1h 43m
country: United States
With his marriage fraying, Blake persuades his wife Charlotte to take a break from the city and visit his remote childhood home in rural Oregon. As they arrive at the farmhouse in the dead of night, they're attacked by an unseen animal and barricade themselves inside the home as the creature prowls the perimeter. But as the night stretches on, Blake begins to behave strangely, transforming into something unrecognizable.


The Dry
2021 · 1h 57m
country: Australia
Aaron Falk returns to his drought-stricken hometown to attend a tragic funeral. But his return opens a decades-old wound - the unsolved death of a teenage girl.


Angel of Mine
2019 · 1h 38m
country: Australia
A woman grieving over the death of her daughter loses grip of reality when she begins to think her girl may still be alive.


Nursery Rhymes
2018 · 5m
country: Australia
On the side of a rural highway, a bizarre encounter with a metalhead takes a profound turn.


The Widow
2015 · 9m
country: Australia
As the sole carer for her mentally-ill husband, Elaine finds herself in an uncomfortable position: suspended between love and duty, between the need to stay and the desire to flee, she is neither fully a wife nor a nurse. As she moves through the shuttered halls of their home, past a life packed into boxes, she is forced to acknowledge, at last, that things may never improve. The Widow is an exploration of guilt, of obligation, and of the toll of caring for another.