Point of Origin (HBO Films): Digital Effects Supervisor
Oversaw 4 incredibly complex 2D and 3D shots involving transitions from multiple 1000 frame plates interwoven with 3D and 2D tracked elements.  Supervisor work consisted of client interaction, art direction, team assignments, creating schedules, and deadlines.

Rollerball (MGM/UA): Digital Effects Supervisor
Supervised 31 2D and 3D digital effects shots created by the team of 19 artists for the feature film.  Work consisted of frame-by-frame paint out, crowd enhancements, digital set extension and other various cg works.  Supervisor work consisted of client interaction, art direction, team assignments, creating schedules, and deadlines.

Dr. Dolittle 2 (20th Century Fox): Digital Effects Supervisor
Supervised the 62 2D and 3D talking animal shots created by the team of 42 artists.  Sequences included talking dogs, turtles, alligators, monkeys, bears, possum, wolves and other various animal one offs. Tasks also included compositing of several talking hero bear shots using Shake.  Supervisor work consisted of client interaction, animation direction, team assignments, creating schedules and deadlines.

Swordfish (WB): Digital Effects Supervisor
Supervised the 22 2D and 3D shots created by the team of 18 artists.  Work consisted of digital recreation of a photo real LA skyscraper, set extensions, matte paintings, explosion enhancements; smoke and missile trails and other various 2D and 3D work.  Supervisor work consisted of client interaction, art direction, team assignments, creating schedules, and deadlines.

Spy Kids (Dimension Films): Digital Effects Supervisor
Oversaw the 2D and 3D work created by Digital.Art.Media's team of 12 artists for the live action feature film.  The 16 shots required the team to create a full CG environment consisting of a cityscape of downtown Houston for 2 green screen characters flying amid the buildings.  Supervisor work consisted of client interaction, art direction, team assignments, creating schedules, and deadlines.

The Painting (Santa Monica Pictures): Visual Effects Supervisor

Supervised the entire visual effects production.  Sequences consisted of digitally recreating a flash flood pushing a Packard over a bridge, morphing a traditional painting into a live action scene, seasonal scene enhancements, modifying current live action film to match dated footage. Supervisor work consisted of art direction, animation and compositing of the shots, team assignments, creating schedules, deadlines and balancing budget resources.

Dungeons & Dragons(WB): CG Supervisor
Oversaw the 2D and 3D work created by VisionArt's team of 35 artists for the live action feature film Dungeons and Dragons. Of the 68 shots created for the film at least 90 percent were entirely CG environments.  Assisted in creating both the Red and Gold dragons as well as the Imp and Beholder digital character for the film.  Supervisor work consisted of art direction, skeletal setup, animation and compositing of the shots along with team assignments, creating schedules, deadlines and balancing budget resources.

Little Nicky (New Line): Digital Effects Supervisor
Oversaw the practical as well as digital work created by the team of 35 artists for the live action Adam Sandler feature film.  Responsible for over 95 shots consisting of simple multi-layer composites, digital photo real human characters (Adam head spin, Cassius into flask), full CG characters (Adrian bat), practical effects augmentation and digital special effects shots. Supervisor work consisted of art direction, animation and compositing of the shots along with team assignments, creating schedules, deadlines and balancing budget resources.

Digital Artist  on Anna And The King, House On Haunted Hill, The Omega Code and LA Times Motion Capture

Godzilla (Sony): Digital Artist - FX Lead
Responsible for creating several different effects for interaction of CG Godzilla with Live Action BG plates.  Effects consisted of Interactive Rain, Plate Rain, Debris, Cracking Pavement and destruction of Brooklyn Bridge from film finale.  Coordinated elements from Effects team and 2D Compositing team.  Managed priorities of effects work load for team.

Digital Artist on The Faculty, Storm of the Century, The Thirteenth Floor, Deterrence and End of Days.

Titanic (Paramount/20^th Century Fox): Digital Artist, Character Integration Lead
Character Integration Breaking Sequence Lead of Motion Captured and Roto-captured 3D Characters. Effects animator for interactive water of swimming characters. Color and Lighting for characters. Compositing of several breaking sequence shots.

The Fifth Element (Columbia Pictures): Digital Artist
Part of the Research and Development team for Pre visualization of Leeloo Escape and Cab Chase Sequences. Previs Tasks consisted of creating camera moves for the stage shoot; shot layout of hero car, traffic and buildings; animation of hero car and traffic. Production tasks consisted of procedural traffic animation; effects animation for traffic; color and lighting for traffic; and compositing.

General Cinemas: Digital Artist
Character design of both lead characters, Popcorn "Bob" and Pepsi "Sue", plus design of Candy Band and various audience members. Color and lighting and composting of Coming Attractions sequence and Live Action Feature Presentations shots.

Terminator 2: 3D - Mini-Hunter/Killer Team: Digital Artist
Match-move/3D Camera plate tracking of above and below ground garage shot, Mini-Hunter Killer Animation, Effects Animation, Color and Lighting, Compositing.

Technical Assistant for Apollo 13, Interview with a Vampire and Strange Days.