GAME NIGHT (New Line Cinema)

As the CG Supervisor of a small team of talented artists at Aspect, I drove the camera choreography; hitting all the story beats, creating space and timing for titles, and designing the entire move for Motion Control. The practical set was then meticulously built based on our previs. Every item, prop, and scrap of paper had to be designed, approved, fabricated and laid out on set, based on the previs we created. 

We knew that the shelf, bridge model, and everything on it would need to be CGI in order to get the precision at the small scale we needed. Also, because to create a single move encompassing the entire shot was just not possible, at least not for our time and budget.  So the illusion of a seamless transition was key!

I broke the shot into three sections; from the door to the string, up the string through the toy van, and from the van to Jesse Plemons.  This way the shoot could be done in two Mo-Co setups, with the CG section on the bridge being the transition between the two.

SKY HUNTER (Spring Era Films)

As the CG Supervisor of a small team of talented artists at Aspect, I drove the camera choreography; hitting all the story beats, creating space and timing for titles, and designing the entire move for Motion Control. The practical set was then meticulously built based on our previs. Every item, prop, and scrap of paper had to be designed, approved, fabricated and laid out on set, based on the previs we created. 

We knew that the shelf, bridge model, and everything on it would need to be CGI in order to get the precision at the small scale we needed. Also, because to create a single move encompassing the entire shot was just not possible, at least not for our time and budget.  So the illusion of a seamless transition was key!

I broke the shot into three sections; from the door to the string, up the string through the toy van, and from the van to Jesse Plemons.  This way the shoot could be done in two Mo-Co setups, with the CG section on the bridge being the transition between the two.

OLYMPUS HAS FALLEN (MILLENNIUM FILMS)

I was the PreVis Supervisor for the production working out of Millennium Studios in Shreveport,  Louisiana. When I first arrived, the script was still a work-in-progress and they had me start on a section that simply said, “20 min action sequence”.   With the guidance of VFX Supervisor Evan Jacobs, we set about creating a library of shots… planes flying, turning, and shooting.   Then we started to develop the attack sequence. We worked directly with the writers and director developing the sequence you see here. I have presented this in a split screen so you can see the previs and how it influenced the final sequences. 

CHARACTER / ANIMATION REEL (VARIOUS STUDIOS)

Here is a collection of character work that I have done over the years. I am particularly proud of these shots, especially the digital NASCAR drivers at the beginning. This was a sequence that everyone said was impossible with our schedule and budget. I was able to develop a technique using projections that worked pretty well all things considered. Also I spent several years working with the Michelin Man, and these are some of my favorite shots. Of course the