Professional

A look at some of the full time, studio production work I've done over the years.

Jaunt

2016 - 2019

Apple

2019 - 2020

Warner Bros.

2020

Warner Bros.

Although working at Apple was a great experience, it ultimately was not the hands-on content production that I wanted to pursue. At the start of 2020, I came on board the Visual Effects team for the latest Matrix film shooting in San Francisco. This was just the transition I was looking for, so I came on board as an Assistant Data Wrangler.

I was able to leverage my existing knowledge of VFX that I developed earlier in my career, with the on-set experience I had gained through my years at Jaunt. Our job was to capture reference material for our VFX artists in post-production. Many of the live-action scenes we film either need to be recreated in a CG environment, or have some additional effect added to the scene. To do this, they need accurate reference material to be able to match the scene as it was shot on set.

Reference Material:

- Lighting Reference (Panoramic HDR, Nodal Ninja)
- Texture Reference (Panoramic HDRI, Roundshot VR)
- Texture Photography
- Witness Cams (Panasonic GH5s)
- Tracking Markers

(Pictured: Capturing texture reference photography with Canon 5d mk iv, 35mm prime lens, Roundshot VR)

Warner Bros.

Marvel

2020 - 2021

Paramount

2021

Lucasfilm

2021 - 2022

Immediately after wrapping on Secret Headquarters, I moved back to the west coast, but this time to LA, for season 3 of "The Mandalorian". This would be my first time living in LA, and my first opportunity to work on an emmy-award winning visual effects team. Naturally, I was excited for the opportunity.

Working on Star Wars was easily one of the coolest experiences of my life. On one hand, so many of the sets, props, and characters are practical. The droids and creatures are actually there, preforming in front of you and bringing a whole new sense of realism to an industry where so much is captured on green-screen and created in post. On the other hand, in the Star Wars universe, nearly every shot is a VFX shot. This meant being on the ball for every single setup, documenting every detail of set, and doing our best to give one of the most profound VFX vendors in the industry (ILM) everything they need to create the mando-verse as we know it.

Another great aspect of working with this crew was the true sense of community. Shortly after wrapping on season 3 of "The Mandalorian", I returned to work with the same crew to start production on the original series: "Ahsoka".

This perfectly rounded out my "Star Wars" experience as it gave me the opportunity to work on both an award winning, flagship show, while also getting to work on an original production with an entirely different cast of characters. Although the story was different, the techniques were the same and we rolled into it with the same strategy.

Much like my experience on "Secret Headquarters", working on Ahsoka gave me another opportunity to step in as a supervisor for certain sequences. With the amount of VFX work needed for each shot, this was a welcome experience that allowed me to hone my supervisor skills even further.

Wrapping on Ahsoka was a bitter-sweet experience as there unfortunately wasn't another Star Wars show to hop on immediately after. The show runners decided to take a planned hiatus to work on upcoming seasons and finish the existing shows in post.

Freelance

2023

Whats next? That's up to you.

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