25 years mastering the technologies reshaping filmmaking.Always in service of the creative work.

I had no computer-animation background. I learned the technology because filmmaking was changing—and I wanted to keep creating at the highest level.

My career began with rigorous traditional-art training. I received a scholarship to study Illustration at Ringling School of Art and Design—now Ringling College of Art and Design—at a moment when traditional craft and emerging computer graphics were beginning to collide.

That foundation in drawing, composition, perspective, color, form, light and visual storytelling became the constant beneath every technology that followed: 3D animation, feature-film VFX, all-CGI filmmaking, virtual cameras, on-set supervision and now visual AI.

Ringling’s Computer Animation program went on to become internationally recognized; the College reports 17 Student Academy Awards for Computer Animation students since 1998.

Creative vision translated through an entirely digital filmmaking process.

This was a pivotal transition from strong early digital work into a landmark international feature production. At Animal Logic, I helped shape scenes at the layout stage — where virtual cinematography, staging, camera choices and story clarity are established before everything downstream is built upon them.

It also reinforced something central to my career: the ability to bring traditional visual judgment into new digital environments and collaborate directly with major filmmakers at the highest level of production.

Direct access to the filmmaker, early story development and a new all-CGI production model.

This role placed me at the center of early story-to-screen development for a new kind of STAR WARS production: fully digital, cinematic, and designed with feature-quality ambition from the start. The work focused on early layout — where camera language, staging, shot design and scene clarity begin to take shape.

One of the clearest signs of how strong the work was: the first four episodes I worked on were later combined into a theatrical feature film, because George Lucas believed the material was strong enough to be seen in movie theaters before the series aired on television.

An early proof point that I could carry both craft and responsibility.

This was not a small supporting role. It was a fast, highly visible broadcast production where the imagery had to feel energetic, polished and ready for a national network launch.

It also marked the beginning of a pattern that continued throughout my career: applying strong artistic fundamentals inside new technology, then carrying that work all the way to final image quality.

Lead the team, stay hands-on, and translate a director’s vision into production-ready visual decisions.

This was a large-scale blockbuster assignment inside one of Hollywood’s most enduring film franchises. I was responsible not only for leading the team, but for staying hands-on — making shots, solving visual problems and helping maintain a consistent cinematic language across the work.

Working directly toward Matt Reeves’ vision required constant collaboration, iteration and visual judgment. Reeves later directed THE BATMAN and is currently directing THE BATMAN PART II.

Where creative ambition, live-action logistics and VFX planning had to become one executable plan.

Previsualization on a VFX-heavy live-action feature is where imagination meets logistics. Camera direction, staging, action, scale and visual-effects concepts all have to become clear enough for departments to plan around them before principal photography.

This project expanded the live-action side of my career: working directly inside a major studio production environment, on location, helping translate complex superhero action into visual plans that supported filmmaking and VFX decision-making.