Career Highlights
Autonomous Vehicle Simulation
Product Manager
2020-present
Scenario creation and simulation technology used in virtual development, testing and validation of driver assistance functions, automated and autonomous driving.
Photorealistic Simulation for
Autonomous Driving
Technical Art Director
2019
Digital twins and synthetic datasets for machine learning.
2018
Sherlock Gnomes
Technology Supervisor
Lomo'Instant Square Camera
2017
Photography for Product Launch and Marketing Campaigns
2014-17
DNEG Feature Animation / Locksmith Animation
Production Technology
Ex Machina
Research & Development
2015
Double Negative was tasked with the creation of the iconic Ava. Oscar winner for Best Visual Effects.
Academy of Motion Picture Arts & Sciences
2015
Sci-Tech Award Consideration for Digital Dailies System
2012
John Carter
Animation Pipeline Supervisor
The Twilight Saga
2009
Computer Graphics Supervisor
2008
Computer Graphics Supervisor
Cloverfield
Tippett Studio integrated believable creature animation and destruction effects on a massive scale. Our first collaboration with J.J. Abrams’ Bad Robot Productions.
The Spiderwick Chronicles
2008
Computer Graphics Supervisor
2007
PyCon 2007 - Dallas, Texas
Python for Visual Effects and Animation Pipelines
Constantine
2005
Technical Director
2004
Hellboy
Production Programmer
Star Wars: Episode II
Attack of the Clones
Video Engineering and Digital Technologies
2002
With this landmark film, Industrial Light & Magic helped George Lucas realize his long-held dream of making the first all-digital movie, including capturing the live-action footage with newly invented digital cameras and production pipelines.
2001
Pearl Harbor
Software Developer
Star Wars: Episode I
The Phantom Menace
1999
Digital Operations and Technologies
1998
ILM Digital Dailies System
Co-designer and Developer
Speed 2: Cruise Control
Digital Technologies
1997
1997
The Lost World: Jurassic Park
Digital Technologies
The successful creature animation in Jurassic Park left no doubt that ILM could put even more digital dinosaurs into this film — herds of them, in fact — thanks to impressive new software that slid virtual skin over digital muscles. The eye-opening dinosaurs in this film put the lock on ILM’s leadership in creature animation.
BIO
CONTACT
In my formative years, I was inspired by the fantastical sci-fi world of “Star Wars”. Because a career as an X-Wing pilot probably wouldn't have worked out, I decided to take a more realistic approach focused on the aerospace industry. That led me to study at Embry-Riddle Aeronautical University, where I earned a Computer Science degree with a specialization in aviation and aerospace. One of my favourite student projects at ERAU involved creating a flight simulator using the cockpit and entire front fuselage from an actual Boeing 707. Experiences such as this would propel me from just watching “Star Wars” to working on visual effects (and even brief on-screen acting roles) for two of the prequels. Starting my VFX career at Lucasfilm’s Industrial Light & Magic, I was fortunate to contribute to numerous groundbreaking film projects and work with some of the best creative and technical people in the business. My most notable project at ILM involved creating one of the first digital motion picture camera systems, which was used for the full end-to-end digital production of "Star Wars: Episode 2." These digital camera systems, along with the supporting technology and workflows, are now ubiquitous in the industry. I now have more than 20 years experience in the motion picture industry, with on-screen credits for 20 feature films. Currently, I'm using the same tools and techniques I used in making sci-fi films, to actually create the future at Five AI... creating virtual worlds for computer vision machine learning and simulation testing for autonomous driving.