Early in my career, I had the privilege to work on location for ILM, Sony Imageworks, and Disney as a data wrangler – shadowing the camera crew, recording shot data, surveying sets, and doing photogrammetry – on big productions directed by some of the giants of our industry, including Stephen Spielberg, Sam Raimi, and Tim Burton. Being on set for months at a time, I fell in love with the unique rhythms of working with the team on stage and in particular with the art of cinematography. I dreamed of becoming a DP.  Luckily for me, I discovered the next best thing – layout, mocap camera, previs, and postvis.
 

Ever since then, I've been fortunate to be on teams led by some of the most talented directors and supervisors working today -- from Dave Filoni at Lucasflm Animation to James Williams and the directors of Open Season and Surf's Up! at Imageworks to the generous and dedicated previs and postvis Supervisors at Halon and The Third Floor, who set the bar for impeccable work. I'm devoted to continuing to learn and master the art of camera motion and lensing, character animation, blocking, lighting, compositing, and editing to translate storyboards, scripts and animatics into sequences for both animation and VFX.

I also enjoy troubleshooting tools and pipelines to support other departments, and I have the kind of curiosity and enthusiasm that makes it easy to communicate with leads of other teams and make sure everyone's needs are met. (I've been a lead myself on live action layout shows, and on the Lion King virtual production, I helped deliver previs scenes to stage, and I was usually the only layout artist in charge of delivery from stage to post-production in London, all while implementing a set of tools in constant development working closely with on-site MPC devs and Magnopus building our Unity3d - Maya pipeline. I was also a UE Tech Artist at Halon.) In the fall of 2020, as an Unreal Engine Fellow, I had the great honor and opportunity to dive deep into EPIC's realtime engine. As I continue to actively train and keep up with new versions and plugins, the expanding possibilities for using UE in production continue to inspire me.

Whether I'm creating shots as a postvis or layout artist or working on a virtual production stage, whether it's for animation or live action, technical or creative, in a traditional or UE hybrid pipeline, I love being a visualization artist! I'm open to relocation and contract work.