I specialize in pre-production visualization – previs, postvis, 3D concept art, and digital cinematography. I have developed a diverse skill set over my career working on feature film and television projects, with prior production experience in animation, compositing, modeling, 2D/3D matte painting and set extensions, tracking, 2D and 3D FX, and render management. I have an artistic background in photography, painting, drawing, and graphic design.
- Extensive cinematography knowledge – focal lengths, camera formats, rigs
- Story development, camera language exploration
- 3D Modeling skills for sketch/3D concept art
- Digital Painting
- 2.5D & 3D Matte Painting/Environment and Compositing
- Character and FX Animation in both 2D and 3D
- Look Dev, Lighting and Rendering for concept art
- Scene Finalization & Cleanup
- After Effects
- Unreal Engine
Rough Layout Lead, Animal Logic (present)
Senior Concept/DMP Artist
DC League of Super Pets (2022)
Lego Movie 2: The Second Part (2019)
Concept artist within the Art Department. Specialized in creating “artviz” – previs that is art directed and rooted in the design exploration of assets through the camera. I mainly concentrated on designing 3D environments and doing early camera scouts and proof-of-concept ‘artviz’, but additionally would design vehicles, props, and do concept paintings.
Previs Artist, MPC
Godzilla vs Kong (2020)
Previs’d major action beats for Kong and Godzilla, including the Hollow Earth and Hong Kong Battle sequences.
Previs Artist, Halon Entertainment
War For The Planet Of The Apes (2017)
Previs and postvis for the major set pieces involving the apes. Animated characters and cameras, with some occasional modeling and texturing of assets and environments in both Maya and the Unreal Engine. Previs was animated in Maya and then setup, exported and rendered through the Unreal Engine. Postvis was tracked in Boujou and comped in After Effects.
Rovio Animation Company
The Angry Birds Movie (2016)
Worked closely and collaboratively with the Previs Supervisor and directors to translate the script and boards into previs. We would use previs as crucial tool in fine tuning the story, and would often go straight into previs to brainstorm major action beats. In the end, the team prevised the entire film and delivered cameras and blocking to Sony Imageworks for production.
Warcraft (2016), Godzilla (2014), Power Rangers (2017)
Matte Painter/Background Artist, Pipeline Studios
ChickenFoot ‘Get It Up’ Music Video (2009), Peregrina Short (2012)
Responsible for creating 2D and 3D matte paintings for a music video using a Maya/Photoshop pipeline.
3D Modeler, Rigger, Pipeline Studios
The Adventures of Chuck & Friends (Season 1, 2008)
Responsible for aiding in the design and modeling of characters, sets, and props from initial concept sketches done by the art department during the early stages of development of the series. Rigged objects once designs were finalized.
Graduate Certificate, Computer Animation, 2006 – 2007
Bachelor of Arts, Multimedia, 2002 – 2006