As the Animation Supervisor for an undisclosed Netflix animation TV series, I work very closely with the animation team to ensure that the creative notes are met. I am responsible for guiding the team creatively towards the standard of quality set by the client, and to help the team troubleshoot and navigate difficult creative problems

As a lead on a project, I help to sort out technical and creative issues with the team, and work closely with the CG supervisor and other department leads to troubleshoot any technical hiccups across the various sequences.- Ultraman: Rising (2024, Shannon Tindle)I was a lead on the show, solving technical issues with the team. I also led the team creatively on an acting sequence, interfacing with the client to ensure notes were met.- The Lord of the Rings: The Rings of Power (2022)I led creatively for teams across 2 studios. Work involved a sea creature and quadruped sequence, various bird cycles, and also building up a crowd library for populating a city- Space Jam: A New Legacy (2021, Malcolm D. Lee)I led a small team to produce previsualization sequences in a fast paced environment with daily turnovers.

Responsibilities mainly involved handling more complex keyframed character and creature work. - Transformers One (2024, Josh Cooley)- The Eternals (2021, Chloe Zhao)- A Quiet Place Part II (2021, John Krasinski)- Star Wars: The Rise of Skywalker (2019, J.J. Abrams)- The Mandalorian (2019, Jon Favreau)- Aladdin (2019, Guy Ritchie)- Aquaman (2018, James Wan)

Responsibilities mainly involved handling more complex keyframed character and creature work.On Aquaman I started early on the show to explore how bipedal characters would move believably under water.Worked closely with the lead to come up with some solutions to simplify and easily drive underwater creature motion.- Ready Player One (2018, Steven Spielberg)- Aquaman Comicon Trailer (JamesWan)- Transformers: The Last Knight (2017, Michael Bay)

What If - An Immersive Story on Apple Vision Pro (2024, Disney Marvel)Worked closely with the Animation Lead and Experience Design Supervisor on this AR game. Provided animated characters and clips based off a storyboard and fine tuned animation based on what wasrequired by the Supervisor in game. Animation was done in Maya and uploaded using perforce/P4V. Game engine was Unreal

The work involved animating lots of quadrupedal characters, from jaguars and tigers to fantastical beasts. Also there were some key-framed digital double work across the various shows.- Ghost in the Shell (2017, Rupert Sanders)- Jungle Book (2018, Andy Serkis)- Fantastic Beasts And Where To Find Them (2016, David Yates)

Work included mocap cleanup, stylised character animation, key-framed character animation, and some creature work. Work also extensively involved shots which required acting and physics.- The Great Wall (2017, Zhang YiMou) - Jurassic World (2015, Colin Trevorrow) - Strange Magic (2015, Gary Rydstrom) - Transformers: Age of Extinction (2014, Michael Bay) - Pacific Rim (2013, Guillermo del Toro) - The Avengers (2012, Joss Whedon) - Transformers: The Ride - Transformers: Dark of the Moon (2011, Michael Bay) - Rango (2010, Gore Verbinski)

Star Wars: The Clonewars (Season 3, 2010)- Pursuit of Peace- ARC Troopers- Clone Cadets

Shelldon (2008, Season 1)- Get a Life- Crabby's Mega Books- I, Shellbot- Small Shells, Big City

CG artist and generalist/ flash programmer