Meddings almost always worked without enough money (even on the Bonds, though those suffered more for a complete lack of time in post), so that influences the way his stuff is perceived (kind of like the 'that looks good for an amateur movie' style compliment.) Also he'd work with various other units (on SUPERMAN, he did the front half of the dam break, but somebody else did the back half, which is screechingly funny with its telephone poles vibrating as water hits them) and often get blame for what they did wrong.
But in terms of good possibilities on TITANS I'm thinking of some of his near-invisible work, where he'd do in-camera stuff live on set with foreground miniatures, like Mike Minor did on TMP and TWOK. There's a dockyard explosion in FOR YOUR EYES ONLY and a poppy field blast in LIVE&LETDIE that are both totally genuine-looking, but done in miniature. And some of the stuff that comes off a little bit hokey is probably due to editing ... the supertanker in SPY WHO LOVED ME looks fantastic in wide and medium shots, but the close shots of the bow in the water are blown by obvious scale issues ... if they'd not dwelt on the closeups, the tanker swallowing submarine stuff would have been pretty convincing.
The superbrain sketch of Adam's looks like something that could have been done with paintings or foreground miniatures and actors on scaffolding in the distance seen 'through' the superbrain, so again that'd be right up Medding's alley.
I've always been more excited thinking about what Jordan Belson would have brought to the show, since he was going to be doing the optical end of things. If you've seen any of his incredible short films or how his work was incorporated into THE RIGHT STUFF (and JOURNEY TO THE FAR SIDE OF THE SUN I think), you may know he was doing amazing luminous-looking stuff with stone knives & bearskins tech, and I think his black hole stuff would have been pretty trippy (maybe a real nice subjective warp drive effect too, come to think of it.)
