Career Highlights
Simulation for
Autonomous Driving
Technical Art Director
Digital twins and autonomous driving datasets for machine learning.
Sherlock Gnomes
Technology Supervisor
Lomo'Instant Square Camera
Photography for Product Launch and Marketing Campaigns
DNEG Feature Animation / Locksmith Animation
Production Technology
Ex Machina
Research & Development
Double Negative was tasked with the creation of the iconic Ava. Oscar winner for Best Visual Effects.
Academy of Motion Picture Arts & Sciences
Sci-Tech Award Consideration for Digital Dailies System
John Carter
Animation Pipeline Supervisor
The Twilight Saga
Computer Graphics Supervisor
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
Computer Graphics Supervisor
PyCon 2007 - Dallas, Texas
Python for Visual Effects and Animation Pipelines
Constantine
Technical Director
Hellboy
Production Programmer
Star Wars: Episode II
Attack of the Clones
Video Engineering and Digital Technologies
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.
Pearl Harbor
Software Developer
Star Wars: Episode I
The Phantom Menace
Digital Operations and Technologies
ILM Digital Dailies System
Co-designer and Developer
Speed 2: Cruise Control
Digital Technologies
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
As I child, 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 specialisation in aviation and aerospace. One of my favourite student projects at ERAU involved creating a full-size flight simulator using the cockpit of an actual Boeing 707. I didn’t know it at the time, but experiences such as this would help me go from watching “Star Wars” to working on visual effects (and even brief on-screen acting roles) for two of the prequels. Starting my 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. One of my most notable projects 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 and related 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 to make sci-fi films, to instead create something that will hopefully have a positive impact on the future... creating simulated worlds for computer vision machine learning and simulation testing for autonomous driving at Five AI.
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