As the Global Head of CG for Crafty Apes, I oversaw all 3D artists, supervisors, and related department heads while providing general management, project bidding, facilitating and coordinating communication, and administering technical oversight of the CG department across eight global locations of the studio. I was also responsible for cross-departmental research and development, including implementation of innovative processes and procedures, deployment and procurement of related hardware and software systems, expansion of technical capabilities and workflows, and the overall company 3D strategy and execution.

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Prior to that, I was the Global Head of CG for FuseFX, where I oversaw the daily operations and strategic vision of the 3D computer graphics pre- and post-production for all four North American FuseFX studio locations while also providing integration and shared pipeline implementation coordination for our international subsidiaries FolksFX and Rising Sun Pictures. My responsibilities spanned managerial, technical, artistic, and organizational planning and execution, including hiring and recruitment, internal training and development, company-wide verbal and written communication, disciplinary action, strategic vision and partnerships, vendor and client outreach, and research and development. During my tenure, I helped pioneer new motion capture-driven crowd system technology, architected and oversaw the development of a cutting-edge application agnostic database-driven pipeline, refactored the computer graphics division into a fully departmentalized specialist driven environment, and championed a team oriented multi-disciplinary workforce built around a foundation of diversity and inclusion. I transitioned the company into new software solutions and other specialized toolsets, and was responsible for researching, recommending, and approving capital expenditures for new hardware and software, along with drawing on my considerable experience to help guide the future needs and strategic direction of the department and company as we grew and partnered with others through mergers and acquisitions. I also helped manage the use of AWS cloud rendering on multiple shows and provided solutions for improving workflows and turnaround time to meet constantly growing demands. During my time here, I was nominated for a Creative Arts Emmy Award for my artistic and supervisory contributions to Deadwood - The Movie, and I was instrumental in the overall success of FuseFX's global industry leading role in episodic and streaming visual effects content creation.

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Prior to joining FuseFX, I was the Head of CG for bi-coastal visual effects studio Brickyard VFX, as well as one of their VFX Supervisors, Creative Directors, and Commercial Directors.  I was responsible for heading up and supervising the studio's bi-coastal computer graphics division, as well as providing on-set visual effects supervision for numerous commercial projects, overseeing the entire process through completion of delivered materials. I oversaw a team of 3D and 2D artists and designers and was involved with staffing and managing these departments. I acted as a Creative Director for numerous pitches and projects, and was responsible for bidding work with clients as well as developing and designing concepts and treatments for myself to direct, as well as for outside directors and agency creatives. I was also in charge of the technical development for the CG department, which encompassed the facility pipeline (a large part of which I designed and implemented) as well as project-specific research and development for the various technical challenges posed by the multitude of productions. During my tenure, I completed over two hundred and fifty different projects in this role for clients large and small with a significant number of well-established advertising agencies, including Goody Silverstein and Partners, BBDO, Chiat Day, Mullen, Arnold, Hill Holiday, 72 & Sunny, Leo Burnett, Saachi & Saachi, Wieden+Kennedy, Deutsch, Young and Rubicam, and many others.

Before my time at BrickyardVFX, I spent nearly three years each at large studios including Sony Pictures Imageworks and Animation, Digital Domain, and Walt Disney Feature Animation, where my time spent on large scale feature production in both traditional 2D and 3D animation as well as live action visual effects rounded out my knowledge base for this type of work.  I spent many years prior to that in various other forms of 2D and 3D graphics, print production, pre-press graphic design, and various other forms of art and graphics, creating my first computer animation on an Apple IIc in 1984.