Film Productions and Premiere Series Work:
Guardians Of The Galaxy

Sr. Compositor at Gradient FX. Compositied over twenty shots ranging from cosmetic fixes on elaborate costumes and makeup applications, set extensions, prop enhancements, to split screens for timing/action enhancements.

The Judge

Digitial Compositor working directly with the production and editorial department. Worked on forty shots including cosmetic fixes, crew removals, speed changes, set and continuity fixes, and flashback treatments.

The Last Ship (New TNT series)

Compositing for Gradient FX. Work involved set extensions, water composites, boat composites, boat modifications, crowd replications, and green screen composites, pyro and gunfight enhancments, and ocean clean up. Worked on the pilot plus episodes 1-5 and 8 of the first season.

The Blacklist

Compositing Supervisor and Lead Artist at Gradient FX. Oversaw intense turn arounds of literally dozens of shots each week. Worked on 18 of the 22 episodes in season 1 of the NBC show. Dealt directly with post supervisor and clients and oversaw a team of compositors and worked hand in hand with the CG team to pull off some ambitious sequences on a weekly basis.

Jane Got A Gun

Digital Compositor working directly with editorial department to figure out VFX requirements, composite dozens of shots, and prepare the film for initial screenings. Director and editor worked one on one to plan and figure out sequences.

The Last of Robin Hood

Senior Compositor at Gradient FX. Oversaw a team of compositors working on a number of green screen driving sequences for this period piece about the final days of Errol Flynn.

North of Hell

Compositing Supervisor at Gradient FX. Worked on a key moment involving a large explosion, helped plan the filming and execution of the opening titles, as well as a few continutity fixes and set clean up.

Black Sails (New Starz series)

Compositing supervisor for Gradient FX as well as lead compositor. Work involved gore/blood additions, explosions, drunken visions, and other effects achieved with a mixture of 3D and 2D techniques. Worked on episodes 1-3 and 5-6 of first season.

Game of Thrones: Season III

Compositing supervisor for Gradient FX as well as lead compositor. Work involved gore/blood additions, limb removal, Wight Walker eye effects, Dire Wolf green screen composites, CG set extensions both interior and exterior as well as matte paintings, face replacements for stunt riders/fighters, and torture sequences.

The Host

Worked directly with production and director on the opening montage of the film. Work entailed five pieces shot on green screen. Each needed background construction and modifcation. All actors had digital eye effects added. Final transitions designed and built all as one piece and delivered back to production. Also worked on truck replication and highway modifciations in key chase sequence later in the movie.

Identity Thief

Compositing supervisor for Gradient FX as well as lead compositor. Work entailed green screen car composites, CG train composites, blood effects, car chase stunt fixes, matte paintings, CG snake composites, credit card replacements, digital phone and computer screen construction and composites, and various other tasks.

Hell Baby

Compositing supervisor for Gradient FX as well as lead compositor. Work consisted of prosthetic fixes on full body suits, demonic possession effects, exploding baby effects, continuity fixes, and puppeteer removal.

Cloud Atlas

Compositing Supervisor and Lead Artist at Gradient Effects on two key sequences. Tasks included prosthetic make up fixes as well as full digital make up applications to make actors appear as different incarnations of the same person throughout several time periods.

The Quiet Ones

Compositing Supervisor and Lead Artist at Gradient Effects on climactic end sequence involving supernatural entities and lots of fire. Work included digitally burning actress' face and clothing, building a burning room out of practical and CG fire elements, as well as building and compositing the Demonic entitiy.

Not Safe For Work

Compositing Supervisor and sole artist at Gradient Effects on 47 shots in the film. Work includes green screens, fire and explosion composites, cell phone screen composites, squib fixes, and various other tasks.

Bullet to the Head

Worked as a compositor and graphic designer directly with Silver Pictures. Worked on over 120 shots including designing and building all computer and smart phone interfaces as well as key montage sequences detailing main characters throughout the film. Also worked on set extensions, explosions, transitions, continuity fixes, and numerous other tasks.

The Man with the Iron Fists

Worked as a Digital Supervisor and sole compositor on over 60 shots transforming the main villain into a man made of Brass. Oversaw the design and implementation of the character into 3D. Composited all shots involving Brass Body (as well as quite a few that didn't), working out warp methods in 2D to fix motion tracking issues as well as animating all facial expressions of the finished character.

American Reunion

Worked as a Digital Supervisor and sole compositor on 6 shots involving adding marijuana smoke as Eugene Levi's character decides to dip into Stifler's stash. Used 2D and 3D smoke elements to convincinly fill a room with smoke just as the police arrive.


Worked directly with production on a dozen really difficult speed changes. All work involved the interior of the submarine and hand-held cameras focusing on close ups and intimate performances which were being slowed down for dramatic impact and requiring lots of detailed paint work.


Acted as 2D supervisor for Gradient FX as well as lead compositor. Worked on over 60 shots involving set extensions, hover bike effects, green screens, blood additions, speed changes, and temporal time travel.

The Change Up

Digital Compositor at Gradient FX. Worked on shots invovling the mysterious force that switches the two main characters into each other's bodies. Also worked on a complex green screen multi element sequence invovling two babies getting a milk bath in the kitchen sink.

Big Miracle

Worked as Digital Supervisor, Matte Painter, and Lead Compositor on over 70 shots for Gradient Effects. Handled client interaction as well as oversaw all work that included extensive set extensions, ice-plane clean up, and complex composites involving miniature shoots (ice breaker), matte paintings, and location elements.

God Bless America

Acted as 2D supervisor for Gradient FX as well as lead compositor. Worked on over 50 shots involving set extensions, television composites, stunt fixes, and lots and lots of bullet hits with blood additions.

Dream House

Acted as Supervisor for Gradient FX as well as sole compositor. Worked on 49 shots involving set extensions, green screens, matte paintings, snow additions using both 2D and 3D snow elements, fire and smoke enhancements, explosion composites, and ghost effects.

Conan the Barbarian

Acted as Producer for Gradient FX/Stereo International for the stereoscopic conversion of over 15 minutes of the film. Duties included client interaction, setting up all databases and workflows for the company, personally color timing all shots matching to supplied references, as well as assigning tasks and managing data I/O.

Freinds with Benefits

Acted as Supervisor for Gradient FX as well as sole compositor. Worked on 30 shots involving set extensions, green screens, and starry sky replacements.

Harry Potter and the Deathly Hallows: Part II

Acted as 2D supervisor for Gradient FX as well as lead compositor. Composited 26 of the 29 shots in house involving the Pensive and Snape's memories. Designed and executed the collection of Snape's tears as well as the look of the inside of the pensive environement itself. Built and animated flying leaves and composited all but 2 of the inky transitions in the memory sequence. Also handled several green screens and magic effects shots.

Green Lantern

Worked directly with production on a half dozen speed changes and some conventional optical effects.

The InAPPropriate Comedy

Acted as Digital Supervisor for Gradient FX as well as sole compositor. Worked on shots involving compositing a baby rhino running over a guy as well as wire removals and speed changes.

Shadow People

Acted as lead compositor for Gradient FX as well as creature designer. Worked on shots involving the design and compositing of the title creatures as they step out of walls and objects into reality. Designed the look and anatomy of the creatures themselves as well as compositing techniques for both when they are in the material world as well as in their natural plane looing through objects and surfaces into ours.

California Scheming

Acted as Supervisor for Gradient FX as well as sole compositor. Worked on shots involving blood fixes, continuity errors, and other fix-it type shots and Digital Intermediate support tasks.


Visual Effects Artist: Worked directly with production as designer and compositor on a number of super natural occurances including the Apparition itself. Also designed all computer interfaces for the special systems that are meant to "cleanse" paranormal entities. Performed on-set supervision for reshoots of the ending of the film.


Visual Effects Supervisor. On-set supervision and planning for extensive outdoor green screen sequence involving the White House and hundreds of cast and extras shot in North Carolina. Also built a number of shots for on-set playback. Note: This production went haywire and the film was never completed. Although assurances have been made that this will be completed, final scenes have yet to be filmed.

Division III: Football's Finest

Visual Effects Supervisor: Worked directly with production for on-set shoots of plate elements for crowd replication in the stadium scenes. Oversaw other work including graphic design and green screens.

A Warrior's Heart

Visual Effects Supervisor: Worked directly with production for on-set shoots of plate elements for crowd replication in the stadium scenes. Composited all crowd replication scenes. Composited debris and destruction scenes involving Middle East conflict sequences.

The Perfect House

Visual Effects Artist: working on mass amounts of gore and blood additions in this horror movie with some particularly disturbing scenes.


Visual Effects Artist: Worked directly with production to choreograph a key sequence shot on green screen and on location as well as temp composite this sequence for feed back from executive producer Joel Silver.


Worked as a compositor at Gradient Effects on over thirty shots including green screen composites, CGI and practical dust additions, futuristic motorcycle fixes, set extensions, wasteland matte paintings, difficult paint work for extensively rigged fight sequences, and then all of the above combined in the end show-down sequence.

Piranha 3D

Worked on plate preparation for 3D compositing at Gradient Effects. I was involved with shots that required extensive camera and rig clean up due to reflections both under the water and at the water's surface.

The Losers

Worked directly for production as Lead Artist and Designer. Handled over 170 shots including green screen helicopter cockpit shots, designed all of the computer interfaces for fighter jets, laptops, desktops, and hand-held technology including rifle scopes and other military surveillance technology.  Handled muzzle flashes, time-warps, bullet impacts, bomb interfaces, split-screens, explosions, crew clean-ups, and numerous other tasks.

The Factory

Senior Visual Effects Artist: Worked directly for production completing over 170 shots including green screen composites, snow and weather enhancements, matte paintings, cosmetic fixes on principal actors, cell phone interface design and composites, age reduction of actors for flash back sequences, blood additions, as well as continuity fixes and other assorted tasks.


Acted as consultant and advisor for snow and weather effects to be added in post. Helped build several down angle particle snow plates as well as acted as compositor for LIT Post on several shots.

The Book of Eli

Worked as a compositor directly for production on one difficult shot while they are crossing the bridge into San Francisco and are forced to stop due the bridge being damaged. They get out and walk around their vehicle to look out at the bay and the city. Work involved extensive CGI passes, green screen footage, roto work, motion tracking, lens matching, and finishing work. I was not credited in the movie.

Krupp - Eine Deutsche Familie

This was a German language mini-series that follows a multi-generational family for nearly two centuries. The work involved period-piece set dressing and elaborate battle scenes during World War II where Gradient Effects recreated the German War Machine to fine detail in CGI. I was responsible for numerous matte paintings, green screen composites, CGI compositing, crowd replications that were practically shot, and extensive set extensions that were a combination of traditional matte painting and CGI construction.


Worked as a compositor at Gradient Effects on the "Ark" sequence which involved numerous blue screen composites as well as monitor inserts as the world's remaining leaders communicate over video conference systems amongst the bridges of the arks floating in the Chinese river valley.


Worked directly with production handling 45 shots involving appendage removal, lighting continuity and atmospheric effects as well as removing Kate's clothing while she was in the shower to give the appearance of her being naked.


Worked directly with production , personally handling 147 shots ranging from difficult composites to cosmetic treatments on lead actors to weather continuity for entire end sequence. Worked on wound enhancement, breaking of an arm in a vice, bruise design and compositing, digital aging of main actor, adding CGI blades to knives, and building particle snow that integrated with practical plates as well as face replacements for stunts.

The Ugly Truth

Worked as a Nuke compositing artist for Gradient Effects, handling over 30 blue and green screen composites that involved extensive motion tracking as well as complex despill and exposure challenges.

Evil Angel

Digital Supervisor and Lead Flame Artist at Digiscope. Was responsible for overseeing a team of Flame and Combustion artists and personally handled transforming multiple characters into the “Evil Angel” look through facial tracking, morphs and warps. Also handled complex green screens and oversaw the creation of CGI devil wings for finale reveal including personally building all texture maps and performing the animation supervision.


Designed executed, and composited a 26 shot sequence based around a computer that teaches a humanoid alien ancient languages and knowledge from Earth’s past in order to survive and strive in 8th century Viking ruled Norway. Worked with the director to achieve his vision of this technology utilizing a combination of 2D and 3D design elements.


Flame Artist at Digiscope. Handled complex green screen reshoot that inter cut with existing practical footage of the two main characters in a convertible Mercedes in Tokyo at night. Involved difficult matte extraction, added reflections, motion tracking, and retiming, stabilizing and painting background plates. Also handled other clean up tasks based around how they shot the teleporting scenes and did continuity fixes and crew removals.

The Bucket List

Flame Artist at Digiscope. Worked on matte extraction, motion tracking, and rotoscoping as well as compositing to simulate principle actors in exotic locations.

The Hunting Party (original title: Spring Break in Bosnia)

Digital Effects Supervisor at Digiscope. Oversaw and executed a sequence of shots including matte paintings and compositing as well as complex object removal and clean up for continuity.

In The Valley of Elah

Flame Artist at Digiscope. Helped devise the look of the video break-up for the clues revealed through the footage on the recovered cell phone as well as composited a number of shots including vehicle additions, character removal, and monitor inserts.

Fantastic Four II: Rise of the Silver Surfer

Digital Effects Supervisor at Digiscope. Handled extensive wig, acne, and eye fixes for Jessica Alba as well as various other effects including "tarnishing" the Silver Surfer while captive, making Mr. Fantastic stretch his body while working on machinery in his laboratory, and a number of monitor insert composites.

The Wizard of Gore

Handled gore additions such as squirting blood and grizzle and the crushing of Crispin Glover’s skull for the finale of this remake.

Georgia Rule

Digital Effects Supervisor at Digiscope. Created Matte Paintings for mountain additions for over 30 shots and oversaw a team of Inferno artists who assisted in compositing. Added CGI rain and did a number of complex split screens as well as some cosmetic fixes on three generations of actresses.


Senior Inferno Artist at Digiscope, responsible for a number of green screen composites as well as creating particle debris, smoke, and dust. Final composites of the particle material were combined with practical footage for a chase sequence down a steep cliff side. "Flash" effects for when seeing the future were designed and executed for a number of shots where the main character foresees his own demise.

The Road To Empire

Visual Effects Artist in charge of blood composites for finale show down. Work entailed wound enhancement, squib fixes (both before the charge detonates under the clothing as well as removing the fire and smoke from the blast), as well as extensive 3D tracking for laying a blood trail on the ground as the wounded character crawls across the set. Blood was created from photographic elements and composited into the scene.

The Reaping

Digital Effects Supervisor for Digiscope. Designed, supervised, and executed 35 shots comprising several major sequences in the film including the “fly” sequence where the silhouette of a statue bursts into a cloud of flies, supernatural healing (designed and composited the wound as it closes up), and spontaneously combusting photos (built particle smoke systems, used practical fire elements, and composited the photos into the shots.


Digital Effects Supervisor at Digiscope. Oversaw entire show as well as executed work on over 40 shots including; rain additions/removal to inter cut with practical footage, handled cosmetic age-fixes on principle stars, handled split screens for performances, oversaw the creation of CGI elements such as a hawk, egg, and particle rain, as well as handling extensive color timing and director laison.

An American Crime

Flame Artist at Digiscope. Worked on extremely complex green screens and time-warp effects for surreal moment when the main character sees herself dead. Work required extensive motion tracking, difficult matte extraction, overlapping depth of field elements shot with different lenses and creative time-warping techniques.

In the Name of the King: A Dungeon Siege Tale

Flame Artist at Digiscope: Handled a number of complex matte painting composites for castles, ravines, and battlefields as well as army replication shots involving multi-pass, non motion controlled elements and worked on other effects including designing the look and the compositing of magical attacks.


Visual Effects Supervisor. Broke down shots in script. Did pre-visualization of key sequences - devising the necessary dimensions to accommodate stage space, safety rigs, and other equipment. On-set supervision. Personally composited all 110 shots on film. Oversaw CGI team build photo-real chest cavity and heart animations. Handled all roles including Supervisor, Producer, Designer, and Compositor at Digital Filmtree.

Material Girls

Composited a key sequence and devised the editorial to visual effects pipeline for the many split-screen effects and transitions in the film.

Southland Tales

Compositing Supervisor. Devised shooting methods in pre-production. On-set supervision of plate shoots and personally executed 350 of the 390 shots produced by Digital Filmtree. Acted as Producer, Supervisor, Designer, and Compositor. Work ranged from extensive matte paintings and CG creation for sets and objects to in- depth design work for computer and television interfaces, along with dozens of green screen composites.

Half Light

Composited a number of matte painting shots for the lighthouse scenes, did scenery clean up removing unwanted structures, as well as makeup fixes for main actors in intimate moments. Work involved extensive tracking on bodies of water as well as atmospheric effects and rotoscoping.

Where the Wild Things Are

Acted as consultant to the editorial and visual effects teams while with Digital Filmtree in order to build a pipeline that would allow their use of Final Cut Pro, witness cameras, live action, and CGI to work together. Worked on the film itself at Digiscope animating the fixed mouth on the beaked character's costume as well as animating dilation of pupils, arching eyebrows and nuancing the static features of the costume.


Handled a number of compositing tasks including adding bullet wounds, removing crash pads from stunts, color timing sequences to bring radically differing exposures into line, built a matte painting of the Mexico border crossing and composited it into practical footage.


Acted as consultant to the visual effects supervisor while working at Digital Filmtree in order to help devise a pipeline from editorial to the various effects houses for the radical time-warping used throughout the many battle scenes covering several plug-ins in a number of compositing packages and how they dealt with timeline data out of Final Cut Pro.

The World’s Fastest Indian

Senior Inferno Artist at Digiscope handling all green screen composites as well as digital matte paintings for a number of sequences but most notably while he breaks the land speed record out in the salt flats. Sat directly with Roger Donaldson to devise the look of certain lighting and mood conditions in the matte paintings for other sequences.

Racing Stripes

Inferno artist: Digiscope. Talking animal show involving extensive 2D clean up and integration of CG muzzles. Handled clean up and compositing of several key sequences in their entirety as well as complex matte paintings that were crucial to the story.

Something the Lord Made

Inferno artist with Digiscope. Open-heart surgery composites, blue baby effect as the child is dying, and numerous continuity fixes.

Van Helsing

Inferno artist with Digiscope. In total over 30 shots of composite with many more paint and fix-up shots as well. Work included matte paintings for the forest in the opening "caging of the werewolf sequence", matte painting and blue screen composites in the village with the "harpy attack", fire and matte painting composites on the burning windmill with Frankenstein's monster, and designing non-CG stages of werewolf transformation.

Art School Confidential

Inferno Artist with Digiscope. Worked on smoke composites for cigarettes turning into a room fire as well as several continuity fixes.


Inferno Artist at CIS Hollywood. Design work on the look of the "future machine’s" interface and treatment of the flashback/flash-forward sequences as well as final composites of these sequences and some explosion and blue screen composites.

The Haunted Mansion

Inferno Artist at CIS Hollywood. Worked on an extensive tracking shot that had a lot of clean up and stabilization necessary due to problems with the dolly and camera rigging used.

Matrix III: Revolutions

Inferno artist: CIS. In “Hell’s Coat Check” sequence I handled the character known as the “Pinball Wizard” as well as others including the main characters as they cart-wheel through mayhem and destruction. In the “Siege of Zion” I composited various set extensions, Armored Personnel Unit (APU’s) shots and then solely handled the “chain shots" which involved miniatures, matte paintings, particles, and practical elements.

The Order (formerly titled The Sin Eater)

Designer and Senior Inferno Artist at The Asylum. I designed the look of the sin-creatures themselves as they are extracted from the dying. One of the lead compositors responsible for a variety of sequences including creating matte paintings of St. Peter’s Cathedral, green screen composites, ghosting effects, creepy children in the grave yard turning into monsters, and compositing of the finished CGI sin-creatures.

Terminator 3- Rise of the Machines

Inferno artist at CIS Hollywood, I removed drivers and crew from numerous emergency and utility vehicles when the villainous Terminator takes control of them and I also removed dolly tracks, camera crews, and reflections (and anything else that wasn't supposed to be there or messed with continuity).

Pirates of the Caribbean

Inferno artist: with CIS Hollywood. Tasks included land mass removal from numerous shots out at sea, island additions for when the principals must walk the plank, makeup fixes for Keira, “wooden eye” composites and enhancements, smoking beard composites, smoking gun wounds and squib fixes, magic coin alterations, mist additions, and removing aquatic booties and replacing them with pirate boots for under water sequence.

Looney Tunes - Back In Action

Inferno Artist Cinesite - Hollywood. Worked on a complex, multi-element composite involving many moving green screen pieces and many layers of revealed cartoon backdrops amongst live action photography.

X-Men II

Senior Inferno artist and Sequence Supervisor at Cinesite - Hollywood: Was in charge of the young “Pyro” character’s fire throwing abilities. Solely completed over forty shots (any time you see fire in the film) and assisted other departments with an equal number of shots involving other characters including blue screen cockpit shots, face replacements for stunt doubles, rig removals, and particle frost effects.

Catch me if you Can

Inferno Artist at The Asylum: Worked on a number of time period set-dressing shots that included removing modern vehicles, street signs and other items and then replacing them with era appropriate counter-parts and matte paintings as well as composites involving elements shot at various speeds being combined for dramatic impact: basically the world moves in slow motion while Leonardo's character takes it all in, moving in real time.

The Tuxedo

Inferno Artist at The Asylum. Composited a number of multi-element green screen fight sequences for the end show down with Jackie Chan and the main villain. Work entailed morphs from one element to another to make a seamless choreography as well as pre-visualization for the director to build complex artificial camera moves.

Phone Booth

Inferno Artist at The Asylum. Was one of the chief designers and executors of the opening title sequence. Lead the CG team in building all the elements and sat with Joel Schumacher in order to work up timing and camera moves to create the illusion of following a phone signal from orbiting satellites down to Earth and out of a cell phone to bring us into the action of New York City.


Inferno Artist at The Asylum. Designed and executed sections of the main title sequence. Main portions include the girl with the dragon tattoo which comes to life and lifts off her back, flying into camera and then exploding into puffs of smoke as well as other transitions through out the multi-layered pieces.

Austin Powers: Goldmember

Inferno Artist at The Asylum. Worked on the opening title sequence compositing CGI letters that fall like rain while the cast dances down the streets. Assisted in color-timing the footage that under lies the title sequence based off of supplied reference

Minority Report

Lead Inferno Artist and Digital Supervisor at The Asylum: Personally executed 81 shots out of 150. I broke down all sequences, assigned tasks, interacted with vendors supplying design elements, and designed several elements in conjunction with CGI. Came up with the look for the "future scrubbing machine" as well as personally composited the entire opening sequence and most other instances when we see this device.

Bad Company (formerly titled Black Sheep)

Inferno Artist at The Asylum. Worked on surveillance device design work and compositing for monitor replacements as well as assisting the supervisor with shot breakdowns and bids. Also assembled, color-timed, and composited all effects in the numerous trailers that ran for film and television.

Queen of the Damned

Inferno Artist at both Manex and then at The Asylum. At Manex worked on transforming Akasha to stone integrating various CGI body parts as well as 2D solutions for flesh to stone transitions at the end of the film. At the Asylum I worked on the green screen flying sequences in the romantic montage of Lestat taking his human love for a fly over the night skyline.

Behind Enemy Lines

Inferno Artist at The Asylum. Worked on compositing CGI missiles, smoke trails, explosions, a football on the deck of an aircraft carrier, as well as surveillance device interfaces, matte paintings, and scenery clean up.

Black Hawk Down

Inferno Artist at The Asylum: worked on digitally enhancing fire-fights in key sequences by adding dirt hits, concrete explosions, CG helicopters, muzzle flashes, bullet wounds, smoke and dust atmosphere, compositing characters into turrets of moving vehicles, and green screen cockpit interiors. Also handled assembly, color timing and effects in the trailers for film and television with one other Inferno artist.


Inferno Artist at The Asylum: Worked on the opening sequence where he is training at night and the police harass him. Worked on converting raw HD footage with problematic color timing and exposure as well as assembling and laying titles over the top. Assisted in assembling and joining dual Lipstick Cams for in the ring over the shoulder point of view shots.

Spy Game

Inferno Artist at The Asylum. Worked directly with Tony Scott color timing and assembling over 50 minutes of footage in the film on Inferno. Also handled numerous fix up tasks including cosmetic fixes on aging stars as well as worked on assembling, color timing, and effects in the numerous trailers for film and television.

Planet of the Apes

Inferno Artist at The Asylum. Worked on ten shots building matte paintings from existing model shoots for shots of the Ape city as Mark Walberg's character is brought captive into the city and when he meets the female protagonist ape. Also worked on starship composites in the beginning of the film as well as the interior monitor and console shots for the space craft's cockpit.

Matrix II: Reloaded

Digital Supervisor at Manex. Worked on set during the motion capture shoots for the freeway chase sequence in the film. Specifically involved with Morpheus battling Agents on top of a moving big rig semi. This was a special moment for me as I got to meet my hero Yuen Wu Ping, director and martial arts choreographer extraordinare. (Special thanks go to Janek Sirrs and Kim Libreri for making that happen!)

The Man Who Wasn't There

Inferno Artist at Manex: Worked on two shots requiring a combination of 2D and 3D solutions utilizing the tools in Inferno to achieve seamless transitions from practical footage to CGI and back during the auto accident sequence.

The Animal

Digital Supervisor at Manex : Assisting in the on set supervision of green screen shoots, rig assemblies, and plate photography. Lead a team of 15 artists in both 2D and 3D departments. Worked as Inferno and Cineon Compositor on 26 out of the 70 shots that comprised the show and oversaw the completion of the remainder.

Almost Famous

Inferno and Cineon artist at Manex. Worked on extensive crowd replications for concerts and handled a number of digital time-period set dressing shots; adding matte paintings for back drops as well as removing or adding era appropriate vehicles, signage, props, and atmosphere.

Bless the Child

Compositing Artist at Manex: Worked on climatic fireball compositing as well as extensive rig removals and pyro element compositing.

The Patriot

Compositing Artist at Manex: Worked on dynamic time-warping and extensive artifact clean-up of 22 shots in the climatic showdown.

Crouching Tiger, Hidden Dragon

Nominated for British Academy of Film and Television Award for work as Digital Supervisor. Executed 40 out of 66 shots done at Manex. Handled artistic design, pre-visualization, and supervision of sequences using Flame to do the 3D animatics fed to our 3D department for the “needle deflection” and the “sword-shredding into the eye” sequences. Composited green screens, matte paintings, and "flying kung fu" sequences.

Romeo Must Die

Digital Supervisor of Manex Los Angeles facility’s 45 rig removals and speed-ramp effects as well as acting as compositor on several multi-element shots requiring extensive morphing from one take to another to create seamless action choreography.

The Bachelor

Compositor at Computer Film Company, Los Angeles (CFCLA). Worked on difficult green screens for the helipad sequence that had to inter-cut with practical footage shot on the actual location as well as all of the shots involving the main characters being "lassoed into marriage".

The Insider

Compositor at Computer Film Company, Los Angeles (CFCLA). Composited the "melt-down" sequence in addition to assisting in the morphs of the hotel into a backyard. Also worked on a number of split-screen “performance enhancements” and other comps such as the golf ball into a net at the driving range.

American Beauty

Compositor at Computer Film Company, Los Angeles (CFCLA). Worked on an opening sequence of blue screens where an already dead Kevin Spacey flies over his old neighborhood while narrating that eventually got cut from the film. Also worked on the rose petal shots, steam additions in the hot tub, and removing crew, police motorcycles and other continuity problems throughout the film.

Deep Blue Sea

Compositor at Manex: Worked on green screens in the elevator shaft sequences. Composited virtual shaft extensions created in CG mixed with matte paintings created in Matador, tracked in Discreet and assembled in Cineon. Also worked on debris and fire additions in the end sequence.

Muppets from Space

Compositor at Manex: Designed and built nebula and star-field space backgrounds for key sequences. Handled green screen composites involving numerous muppets old and new.


Compositor at Computer Film Company, Los Angeles (CFCLA). Handled a number of long montage sequences while the family is trapped in the wilderness. I was in charge of all photography clean up, color timing, time warping effects, and final assembly.

Mighty Joe Young

Compositor at Computer Film Company, Los Angeles (CFCLA). Worked on a number of sequences involving; the crashing trucks in the initial capture sequence, the fire compositing amongst the carnival rides, various clean up tasks, and finally the "Disney Moment" when Joe caresses Charlize's cheek, waking her from unconsciousness (and there is a glowing highlight on his finger giving it that special touch).


Compositor at Computer Film Company, Los Angeles (CFCLA). Worked on the first trailer for the film handling the color timing and separation of elements that start black and white and slowly take on colorization as the characters in the film "awaken". Also handled similar tasks in the film itself as well as era-specific set dressing in the bowling alley and other locations.

The Naked Man

Compositor at Computer Film Company, Los Angeles (CFCLA). Worked on the Evisceration of Elvis as he walks into a moving prop-engine. I created and composited the intestine element getting sucked into the plane propeller along with other composites and paint work ranging from matte paintings to wire removals to CGI pills flying down an esophagus.


Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on multi-element, motion-controlled space-craft miniature based shots as well as internal R&D for star field and stellar body art design.

The X-Files Movie: Fight the Future

Compositor at Computer Film Company, Los Angeles (CFCLA): Created matte paintings and composited the shots in the climax of the film where the main characters crawl through the ice as the Arctic base behind them collapses.

Doctor Dolittle

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on developing and testing talking dog sequence using Discreet Logic’s time-interpolation, mesh-warper, and paint capabilities as well as other composites involving the talking dog.

Six Days Seven Nights

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on shots involving miniatures shot as motion-controlled plates combined with CGI storm elements. I was Featured in a "Step by Step" article in “Millimeter” magazine, detailing work on a difficult explosion composite. Other work involved the massive beach crash sequence working directly with particle artists to create sand, rain, and debris.

The Truman Show

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on building and compositing clock faces, car radio displays, and other hidden camera vantage points over live-action plates to give the “surveillance perspective”. Also worked on comprehensive split screens and compositing work throughout.

The Big Lebowski

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on "The Dude" in limbo sequences featuring Nihilists with scissors chasing him, then transitioning to Pacific Coast Highway with the police behind him. Also worked on the other dream sequences extracting mattes, cleaning up rigs, and other support work.


Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on matte extraction, rig removal, reflection fixes, and other tasks in the flying car sequence.

The Learning Curve

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on a number of sequences involving rig removals, fire escape composites and building paint work .

Starship Troopers

Compositor at Mass Illusion. Worked on several sequences involving both starships in the main fleet above the planet as well as the escape pod sequence where the two Naval officers crash land onto the planet's surface and unwittingly uncover the brain-bug.

The Devil's Advocate

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on extensive pyro and fire compositing on end sequence, worked on design for the look of the statue coming to life, and morphed statue sections before they take on gaseous look. (Note: this was for the original release. Legal issues with the sculptor on which this statue was based have caused some of these shots to have been altered or removed).

Trojan War

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Worked on extensive rig removals for a crash sequence involving an expensive Jaguar automobile. Worked on other paint work and clean up in the film.


Digital Artist at Computer Film Company, Los Angeles (CFCLA): Worked on solar reflector shots, rig removal shots, and blurred vision shots as well puddle reduction and color correction for swimming in the ocean at night sequence. Also built and composited the eyelash that gets the main character busted by the DNA police.

Snow White: A Tale of Terror

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Worked on the magic mirror effects as Sigourney Weaver contemplates magic and murder as the wicked stepmother.

Con Air

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on the end Vegas plane crash, removing static propellers on the plane and rig assemblies that pulled it through the casino and then put in CG propellers and atmospheric effects. Also worked on junkyard composites and the blue screen Cobra Gunship sequence.

LA Confidential

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on a number of matte paintings of downtown Los Angeles to recreate the era appropriate look of buildings, streets, cars, and greenery for the time period portrayed in the film (RIP Peter Donen).

For Love of the Game

Compositor at Computer Film Company, Los Angeles (CFCLA):: Worked on several green screen close ups of Kevin on the pitchers mound as well as some clean up work and matte extraction for the crowd replications in the stands.


Compositor at Computer Film Company, Los Angeles (CFCLA):: Handled rig removals and paint work for the small snake chewing on fingers as well as vegetation and rig clean up in other parts of the film.

Liar Liar

Compositor at Computer Film Company, Los Angeles (CFCLA): Lead Artist working on the airport boarding ramp sequence where Jim Carrey gets flown through the air. Work included rig removals, matte paintings, and element creation.

Dante's Peak

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on several sequences including the initial eruption with compositing of the volcano in the distance, pyroclastic cloud compositing as it chases down Linda's truck, flaming debris punching through the roof of Pierce's truck in the beginning, and matte extraction for other sequences in the film.

Jungle 2 Jungle

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on a single long matte painting shot involving the shadow of a plane moving across the river in deep jungle.

My Fellow Americans

Digital Paint Artist at Computer Film Company, Los Angeles (CFCLA): Worked on a helicopter explosion as well as matte extraction and rotoscoping for shots involving the White House.

Mars Attacks

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on several shots involving a flying saucer crash landing into the river with miniatures, full size elements, matte paintings, and burning debris combined for the finished shots.

Jingle All The Way

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on matte extraction, rig removal, and plate preparation for the "Turbo Man" sequences involving Arnold as the Turbo Man and Sinbad as his arch rival.

Extreme Measures

Compositor at Computer Film Company, Los Angeles (CFCLA): Worked on matte paintings of University buildings where Hugh works as well as retiming the subway, cleaning up subway plates, and matte extraction from green screens for Hugh in the subway tunnels.

Steel Big, Steal Little

Paint Artist at Computer Film Company, Los Angeles (CFCLA): Worked on matte extractions and plate paint preparation for the green screen and split screen composites allowing Andy Garcia to play twins.

The Tie That Binds

Digital Artist at Computer Film Company, Los Angeles (CFCLA): Handled the building of color timing wedges, applied the chosen color timings, and assembled the opening title sequence for optical application of the titles themselves.