About me

I have been working in the visual effects industry for over twenty years. I’ve worked in many capacities on a variety of projects, from fully animated films, live action features, video game cinematics, television, and commercials. I strive to excel in whatever aspect I’m involved in. I have spent time as a Lead, Supervisor, Manager and an Artist. The creative collaboration I’ve been involved with has led to a rich and exciting career. In that time I have worked at multiple Academy Award winning studios including Rhythm and Hues, Sony Imageworks, and Paramount. My skill-set encompasses a wide range of productions and pipelines. I’ve worked at small 3 man shops and at large studios with teams in the hundreds. Wearing all hats is something I do well.

Graduating with a BFA degree from Savannah College of Art and Design in 2003, I worked at a local tv station where I gained knowledge in local broadcast and rebranded the station’s on air graphics. In 2006 I moved to Los Angeles to pursue my dream of working in the film industry. I jumped around from discipline to discipline and truly excelled in them all. I got my start with camera tracking for Garfield 2, and after tracking two more films at Rhythm and Hues I went on to do technical animation and fur simulation for Night at the Museum. In my early previs work I worked very closely with the script for JJ Abrams Star Trek laying out  the CG heavy action scenes. After several successful previs projects I jumped to another discipline of composting and lighting preparing the “second eye” for Robert Zemeckis's fully animated Beowulf. I then went back to Rhythm and Hues where I spent the next five years working on dozens of projects in capacities such as modeling, texturing, look development, lighting, compositing, and on set data collection. In 2015 my family and I made the move to Canada to participate in the budding Montreal VFX scene. In my years working at Atomic Fiction (now DNEG) I rose through the ranks from Artist, Lead Artist, Asset Department Supervisor, and finally CG Supervisor. After a successful acquisition by Method MTL I returned to LA to join BLUR as a CG supervisor and work in full 3D animated content.

Visit my IMDB page to see my list of credits.

Read Art of VFX about my work in Deadpool