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.

In 2020, I went to work for Leidos on a contract for the 16th Air Force. We did full VR digital twins of two aircraft, the EC-130H Compass Call and the MC-12W Liberty. I was responsible for rigging and animating the interactive doors, switches, knobs, handles, throttles and other things like oxygen masks and bottles.

We were also working on an interactive language trainer that would have let you walk around a virtual city carrying on interactive conversations in other languages with fully animated characters. You would be scored on your proficiency in various ways. I was in charge of rigging, animating, and doing the facial animation for all the characters. I left before we could get to a real vertical slice, and sadly I believe the project never came to fruition.

In 2022, I joined Jackalyptic Games as a Senior Technical Artist. The project: A brand new game set in the Warhammer universe, using Unreal Engine 5 and aiming for AAA quality. I ended up being responsible for a mix of technical art and technical animation tasks, from making UI and post-process materials, to working on the primary locomotion animation system for both player and NPC characters. I got to make a modular, animated tank track system for a few vehicles. I also made a range of tools for in-editor analytics and debugging. I also recently got to help out by working on a cinematic and enhancing the cinematics system's capabilities.