I began my career at NewTek, Inc. - makers of 3D modeling and animation software LightWave 3D. I started in technical support, but was eventually able to go out to trade shows, demoing software and making valuable industry connections, while spending all my free time teaching myself modeling, animation, lighting, and rendering.

My first industry job was at the legendary Foundation Imaging on a kids show called Roughnecks: The Starship Troopers Chronicles. Eventually I graduated to working on high-end made-for-TV productions such as Superfire, and then the final episode of Star Trek: Voyager and the first season of Enterprise.

Not a long or glamorous stint, but I worked on several high-end commercial projects, from Ericsson to now-defunct Global Crossing as well as an event intro video for Seattle's Museum of Pop Culture. (I also used to sneak in to watch VFX dailies from the first X-Men film. That was awesome.)

I joined Zoic Studios (Radium LA at the time) for the pilot of Firefly, and was part of the core crew for the run of the show. We won the Emmy for it in 2003. Afterwards, that team flipped over to work on the reboot of Battlestar Galactica, for which we were nominated for an Emmy. Also there I worked on House, M.D., Eureka, 24, and many other film, commercial, and TV projects.

I did my first CG supervising on Century City and my first full-on VFX Supervisor gig for Ghost Whisperer, including being on set at Universal Studios and on location.

I left 'Hollywood' and rejoined NewTek in San Antonio in 2007. In the Content department, I started out building and rendering LiveSet™ virtual sets, animation stores, and title templates for the TriCaster™ video production system. After moving into the UX department, I got to start diving into software development. Since then, in addition to creating and maintaining the user interface for the TriCaster™ and IP-series products, I've developed some web applications, and been a co-developer on a telestrator application and the LiveGraphics™ animated title system.

In around 2011, I started doing freelance animation and visual effects for a number of clients. I've worked on award-winning short films such as Squeezebox, independent feature films such as Angel Dog, Te Ata, The Adventures of Pepper and Paula, Gosnell and several web commercials for clients such as Palm Agent. I've recently completed 100+ shots for the upcoming film The Chickasaw Rancher, including herds of cattle, sky replacements, and lots of smoke and fire.