I have more than 10 years of experience using traditional media, and 10 years of combined experience in using digital media, and 3 years of Stereoscopic work. I enjoy working in a fast-paced environment with production schedules, teams, and talented artists. I'm a hard worker who comes in with a smile on my face every day. I have a wonderful eye for details and always put pride into my work. Asking questions or taking on more than one task at a time is how I stay self sufficient. Also, I'm a quick learner when it comes to new software and have no problem staying late at work to get things done.
VFX Coordinator. CBS.
September 2017 - January 2018
Star Trek Discovery: Season 1
Worked in the VFX department for Star Trek. Coordinated with VFX vendors on rewarding shots, sending and receiving shots and materials, critiques from VFX Supervisors and Executives.Managed each episode and archive materials and elements in Shotgun.
Coordinated review sessions with VFX editors and Supervisors.Duties included: taking notes, bring up questions or concerns from the Vendors, check continuity while watching shots in sequence.After review session, would be cleaning up notes, sending notes to designated Vendors, and update shot statuses after review.
In charge of updating boards which showed the weekly schedule and episode(s) status.
Visual Effects Coordinator. CoSA VFX.
October 2016 - May 2017
Gotham: Season 3, Agents of Shield: Season 4, Pitch, Lethal Weapon: Season 1, Training Day, and more.
Coordinator for multiple TV shows and clients. Closely work with Producers and VFX Supervisors.Setup and take detailed notes for daily review sessions.Answer client emails and phone calls using CoSA-tivity.Build and manage projects in FTrack.Ingest footage sent from clients.Send Uploads and Deliveries to the clients using their specifications.Work with all the departments to keep communication fluid.
Work with the selected artists who are in SCRUM groups.Talk with Producers and Supervisors on assigning shots.Help the team delegate compositing tasks within the SCRUM.Daily check-ins with SCRUMs to check on progress and make sure each team has the materials needed to complete their assigned shots. Create closer relationships between artists and production.
VFX Coordinator. Entity FX.
September 2014 - May 2015
The Originals: Season 2 and Vampire Diaries: Season 6 - coordinating VFX for the show.
Working closely with the Producers and VFX Supervisors.
Creating shots from EDL for each episode. Setup projects, shots, and
versions in Shotgun.
Setup and deliver shots to Client.
Check all naming conventions for shots. Create and organize RV sessions for
VFX Supervisor. Take notes from client reviews and update shot statuses.
Cut camera clips to make plates for the artists to use for their
Help to manage artists’ tasks. Help to keep morale and communication flowing from Management to the Artists.
VFX Compositor. EUX Media.
The World of Coca Cola - Freelance Compositing shots for client. Project to be announced later.
Creating rotos, tracking cameras, and color manipulation to make the changes the client’s shots as they desire.
Stereoscopic Assistant. Walt Disney Animation.
May 2013 - October 2013
Frozen (Academy Award Winner 2014: Best Animated Feature) - Stereo camera layout and final Stereo compositing.
Setup Stereo cameras in Native 3D space, utilizing my own artistic stereoscopic eye.
Composited final Stereo shots; eliminating artifacts and discrepancies caused by composite fixes for mono camera.
Represented the Stereo Department in the Compositor Users Group.
Collaborated with the Lighting, Visual Effects, Technical Directors, and Publicity departments to build post-department handoff pipelines, communications and morale.
Wrote and organized documents on tools and solutions for the Stereo Department’s page on TechWeb.
Stereoscopic Apprentice. Walt Disney Animation.
June 2012 - May 2013
Wreck-It Ralph (Academy Award Nominee 2013: Best Animated Feature) – Stereo camera layout and final Stereo compositing.
Set up Stereo cameras in Native 3D space, developing aesthetics, and utilizing my own artistic stereoscopic eye.
Composited final Stereo shots are composited; eliminating artifacts and discrepancies caused by composite fixes for mono camera.
Participated in Stereo and Lighting Department research trips outside of the studio.
Stereoscopic Trainee. Walt Disney Animation.
March 2012 - June 2012
Under the guidance of the Stereoscopic Mentors, learned the Disney techniques used for Native 3D.
Trained to improve my Stereo Eye to understand 3D composition, and learned the Disney Stereo pipeline for going into production.
Senior Stereo Painter. Bit Theory.
Titanic: 3D Release – Stereo painted and composited feature film shots for client.
Helped to instruct entry and junior level painters on their shots.
Stereoscopic Compositor. Legend 3D.
Febuary 2011 - July 2011
Transformers: Dark of the Moon (Academy Award Nominee 2012: Best VFX) and Smurfs - Prep Compositing and Stereo Compositing
Stereo composited shots for the film.
Created alphas, clean plates, and pipe thrus with proprietary software for stereo compositing.
Intern. Omation Studios.
January 2009 - March 2009
Worked in Layout Department for Back at the Barnyard.
Modeled props for episodes
Created 3D animatics for Layout tests
Cataloging of main characters’ costumes
Approved rigs and textures from Paprikaa Studios in India
Art Institute of California: Orange County.
Media Arts and Animation.
Graduated March 2009
Dean’s List and Honor Roll
(2D Animation) January 2008 - March 2008.
By 2D Studio Team
Sound effects and voicing
Motion Graphics and Compositing
The Toolies (3D Animation) July 2008 to January 2009
Directed by Andre Gaines
Mazda Kaan (Futuristic Car Design) August 2008 to November 2008*
Created by Mazda
Concept lightening particle effects
*Note: The Mazda Kaan won best Futuristic Car Design 2025 at the LA Auto Show.
Stereoscopic Camera Layout
3D Studio Max
Final Cut Pro
Adobe After Effects