Visual effects artist with 10+ years of creative and technical leadership experience and more than 25 years compositing experience. Software agnostic with demonstrated ability to move seamlessly between software tools like Nuke, Adobe Creative Cloud, and Fusion. Instrumental in developing Rhythm and Hues’ international presence, working with cross-functional teams to help design and implement processes to share work and facilitate communication with remote locations.
Eposodic shot work using Nuke and NukeX. Integrated CG and FX into live action plates, and seamlessly integrated inserts into monitors, cellphones, and CRT televisions. Credits include For All Mankind, Gemstone, Improbable Valentine, and more!
Hero shot work using NukeX, After Effects, and Fusion. Tracked and exported 3D camera data. Integrated CG, practical, and FX elements into live-action plates for projects including The Amazing Spider Man 2, Black Sails, Ouija, Missing Link, and immersive trade show installations.
Rhythm & Hues
Sequence Supervisor: June 2003 – April 2013
Ushered project deliverables from the beginning to the end of the project. Developed and executed action plans and schedules. Set milestones and goals for the team to achieve. Worked with production staff to bid new work. Worked closely with VFX Supervisor and external client to realize the client’s vision for the project. Scoped new projects, evaluated potential risks, developed mitigation plans, and tracked project progress. Assisted with interviewing and evaluating candidates.
Notable accomplishments include:
- Life of Pi, Academy Award winner for Best Visual Effect. Mentored a first-time Sequence Supervisor. Worked with interdisciplinary teams to develop the best approaches to integrate complex photo-real water FX into live-action plates.
- The Golden Compass, Academy Award winner for Best Visual Effects. Led team of 20 artists to complete 120 shots three days ahead of an already compressed schedule. Oversaw shot production, set shot goals, and schedule. Engaged directly with each artist to create the highest quality work. Presented work to the VFX Supervisor for comments and approvals. Drove the creative direction for the team, implemented all client comments, and ensured that we not only met but exceeded the desires of the client.
- Chronicles of Narnia: The Lion, the Witch, and the Wardrobe, Academy Award nominee for Best Visual Effects. Led an offsite team of 25 in the company’s developing India office to complete 150 highly technical background preparation tasks. This was the first major test project to prove the viability of the India office. Partnered with the software department to develop our proprietary photogrammetry tool to seamlessly integrate CG elements into live-action plates.
CG Lead: July 2002 – June 2003
Critiqued work, assisted in shot assignments, and provided creative and technical assistance to compositors. Worked closely with a sequence supervisor to maintain consistency and quality of work. Trusted to handle all supervisory decisions during Sequence Supervisor’s absence on Garfield.
Lighter: October 2000 – May 2001
Defined material properties, placed lights, painted textures, and managed renders to achieve a photorealistic look on Dr. Doolittle.
Compositor: August 1999 – June 2002
Pulled blue/green screen, rotoscoped live action plates, tracked elements using 2D and 3D tools, and integrated CG renders into live action plates. Modeled, textured, and tracked a 3D sword into live-action plates to impale Arnold Schwarzenegger for the end sequence of End of Days.
On-set Compositing Technician
Real time rotoscoping on location to ensure the final composites duplicating the primary actress were seamless for the 1998 remake The Parent Trap.
Boss Film Studio
Modeled and animated CG objects, lit and rendered CG assets, pulled blue/green screen, rotoscoped live action plates, integrated CG renders into live action plates. Developed the 3D methodology for digitally adding “city lights” reflections to a miniature model of a 747 for the movie Turbulence.