14+ years crafting visual effects for blockbuster films. I build tools, optimize pipelines, and lead teams across Nuke, Maya, Unreal Engine 5, and Houdini — shipping shots faster without sacrificing quality.
14+ years of postvisualization, compositing, and real-time VFX across major studio features.
Built and led cross-discipline teams delivering postvis shots under tight deadlines. Developed custom Python pipeline tools to reduce per-shot turnaround time. Directed final-shot finishing using EXR renders and color LUTs, managing the real-time Unreal Engine pipeline alongside traditional DCC workflows.
Led compositing team with dedicated trackers, establishing plate prep workflows for fast animator handoff. Optimized the Unreal-to-Nuke compositing pipeline for rapid turnaround of real-time rendered animation passes.
End-to-end postvis: camera tracking in SynthEyes, 3D layout in Maya, and compositing in Nuke from playblasted animation layers. Iterated directly with animation teams on shot design and camera work.
Tracked complex feature-film shots using lidar scans and reference geometry with proprietary software. Delivered production-ready cameras for X-Men: Days of Future Past, Iron Man Three, and Maleficent.
Camera tracking and layout for Once Upon a Time (16 episodes) and other productions.
Full shot pipeline: tracking, asset creation, Maya rendering, and Nuke compositing for finals on features like RED and G.I. Joe: Retaliation.
I'm looking for my next challenge — ideally a Pipeline TD or Tools Development role where I can leverage my deep production experience and growing programming chops to build the tools that make VFX artists' lives easier.
Whether it's bridging real-time engines with traditional pipelines, automating repetitive workflows, or building artist-friendly tools from scratch — I'm ready.