Biographie
Visual Effects has been my passion for over 40 years, beginning in 1982. I was most currently on FX/HULU's The Old Man, Season 2 as VFX Supervisor. I was also VFX Supervisor on Season 1. Both seasons filmed locally in Los Angeles. Prior to that, I was Second Unit VFX Supervisor on Zack Snyder's Rebel Moon. I was an additional VFX Supervisor on Marvel's Secret Invasion. I was Senior VFX Supervisor on Season 2 of Amazon Studio's Upload. I was On-Set VFX Supervisor for Netflix's Raising Dion in Atlanta. Just before that, I was in Albuquerque, Supervising the VFX on Midnight, Texas, Season 2. Before this project, I was in Vancouver, where I was VFX Supervisor for Season 2 of the Netflix show A Series of Unfortunate Events. I also was VFX Supervisor for Season 1 of the Sony Pictures Entertainment series Timeless. I spent 3 seasons Supervising for the Starz hit series, Black Sails, from Season 2 through Season 4, Earlier, I was in New Orleans providing on-set VFX Supervision of Percy Jackson: Sea of Monsters. In China, I was the VFX Supervisor for The Monkey King 3D, which domineered the Chinese box office. Other projects include post-production VFX Supervision of The Day The Earth Stood Still and John Woo's Red Cliff. In 2007, I supervised the visual effects filming on set for Alvin and the Chipmunks. Earlier that year, I supervised visual effects production at locations and on the sets of Fantastic Four: Rise of the Silver Surfer for Weta Digital. In 2006, I was Senior Visual Effects Supervisor on the Cannes Film Festival's critical darling The Host, a Korean creature feature directed by Bong Joon-ho. I received the award from The 2007 Asian Film Awards for Best Visual Effects on The Host. In early 2001, I was enlisted by Dreamworks Animation to design, implement and oversee the entire computer graphics pipeline used to create the blockbuster CG feature Shark Tale. During my nine years at Industrial Light + Magic, I contributed to nine major films, including Star Wars: Episode One, The Perfect Storm, Jurassic Park: The Lost World, and Dragonheart; all of which received an Academy Award nomination for Best Visual Effects. Before joining ILM, I was a senior animator at Pacific Data Images. At PDI, I contributed to nine major films including Cliffhanger and Batman Returns. I began my career in Visual Effects at Digital Productions, where we created digital effects in the film The Last Starfighter. I received my Masters degree in Architecture from U.C.L.A. and my Bachelor of Art degree from Stanford University.
