Coordinator in the Stereo 3D department. We are a small team that is responsible for the 3D conversion of all features, trailers, and special venue releases produced by the studio.My primary duties were to drive Mistika for all things related to 3D shot production and function as the online editor. Deliverable (shots total) - release date:Spider-man: Far From Home feature (2305) - 7/2/19Avengers: Endgame feature (2704) - 4/26/19Avengers: Endgame trailer 2 (64) - 3/14/19Captain Marvel feature (2410) - 3/8/19Avengers: Endgame trailer 1 (34) - 12/7/18Captain Marvel trailer 2 (113) -12/3/18Captain Marvel trailer 1 (83) - 9/18/18Ant-man and the Wasp feature (2704) - 7/4/18Ant-man and the Wasp Disney Parks special engagement (191) - 6/20/18Ant-man and the Wasp trailer 2 (119) - 5/1/18Avengers: Infinity War feature (2681) - 4/27/18Avengers: Infinity War trailer 2 (94) - 3/16/18Black Panther feature (2452) - 2/16/18Ant-man and the Wasp trailer 1 (123) - 1/30/18Avengers: Infinity War trailer 1 (74) - 11/29/17Thor 3: Ragnarok feature (2720) - 11/3/17Thor 3: Ragnarok Disney Parks special engagement (223) - 10/16/17Black Panther trailer 2 (97) - 10/16/17Thor 3: Ragnarok trailer 2 (115) - 7/22/17Spider-Man: Homecoming feature (2588) - 7/7/17Black Panther trailer 1 (76) - 6/9/17Guardians of the Galaxy vol. 2 feature (2366) - 5/5/17Thor 3: Ragnarok teaser 1 (76) - 4/10/17Spider-Man: Homecoming trailer 2 (138) - 3/28/17Guardians of the Galaxy vol. 2 trailer 3 (111) - 3/1/17Guardians of the Galaxy vol. 2 Super Bowl spot (56) - 2/5/17Spider-Man: Homecoming international trailer1 (86) - 12/8/16Spider-Man: Homecoming trailer1 (110) - 12/8/16Guardians of the Galaxy vol. 2 teaser2 (80) - 12/3/16Doctor Strange Feature (1912) - 11/4/16Doctor Strange IMAX3D special engagement (347) - 10/10/16Doctor Strange Disney Parks special engagement (204) - 10/7/16

I took a year-long-sabbatical away from the motion picture entertainment industry. It was the best thing I've ever done for myself.I travelled, went to school, made a couple short films, but most importantly, spent the time to learn how to better take care of myself.

Show title: TELL THE WORLDClient: Seventh-Day Adventist Media GroupFormat: 2K2D Digital (Arri Alexa workflow)Tell the World is a feature length period genre narrative depicting how the Seventh-Day Adventist Church came about. The film was funded by Seventh-Day Adventist Media Group and Day's End Pictures took on all Post-Production duties from editing, VFX, DI and conform. The show consisted of 132 VFX shots distributed among 2 overseas vendors (Hong Kong and India) and an in-house compositor. Post-Production duties: Identified all VFX shots and the work entailed. Bid and awarded VFX work to vendors. Created VFX shot database in FMP. Tracked status of all shots. Operated Assimilate Scratch to debayer raws and generate VFX plates. Generated graphical and annotated notes to better communicate creative notes with vendors. Found and generated background elements for in-house compositor. Slap comped shots in AE for editorial. Coordinated VFX dailies sessions. Generated end credits and titles in AE. Designed and rendered 3 abstract graphical sequences for the film. As the VFX shot count increased in the end, analyzed and determined what work can be handled in DI opposed to making it an additional VFX shot for a vendor. Oversaw DI and conform to ensure timely delivery and quality of VFX work taken over by DI. Designed workflow with colorist so notes on shots that required "creative DI" were all tracked within the coloring software, Assimilate Scratch. Soft conformed the film in AE and Premiere. QC'ed film.

Show title: MasterlessClient: Endurance FilmsFormat: 2K2D Digital (RED Epic Workflow)Masterless is a feature length independent feature. Day's End Pictures was responsible for the DI, conform and export to multiple delivery formats such as BluRay and DCP.Post-Production duties: Tracked and plugged in last minute VFX shots as they got uploaded to us, in to the conform timeline in Assimilate Scratch. QC'ed the conform. Bid and awarded DCP creation work to vendor. Authored BluRay in Adobe Encore.

Show title: RobotsClient: National Geographic Cinema VenturesFormat: 15/70mm IMAX3D (large-format stereoscopic) educational documentaryRobots is a 42 minute educational documentary funded by National Geographic and produced by Day's End Pictures. The show's delivery spec was 4096x3072 in 3D. The show consisted of 79 VFX shots rendered by 3 VFX facilities and a team of 12 in-house VFX artists.Pre-Production duties: Prevized shots and cut them together with temp narration for the Producer, Director/Writer to validate the screenplay flowed well. Hired concept artist to visualize science concepts. Flew to Japan and interviewed Japanese speaking roboticists and negotiated shoot schedule and release. Production duties: Gathered VFX on-set data. Prepped stereo GoPros (Hero3+ system) and stereo time-lapse system (5Dii side by side). Translated between line-producer and Japanese roboticists and their lab members. Shot EPK material (interviews, marketing stills). Location managed scenes where robot required a specific environment. Post-Production duties: Created VFX shot database in FMP. Bid and awarded VFX work to vendors. Slap-comped VFX shots for editorial. Mocked up VFX shots to efficiently communicate blocking and timings to VFX vendors. Tracked status, schedule and budget of all VFX shots. Operated in-house 4K projection system for VFX dailies. Stabilized and camera tracked drone footage in AE. Rectified handful of shots with stereo misalignments using AE and Stereoid to avoid extra VFX costs. Oversaw DI and successfully conformed, QCed, and delivered 4K3D(DCI) in 8 days since picture lock. DI was done in Assimilate Scratch. Re-conformed the entire show in 4K3D(1.33) for 70mm film out.

Show title: Mysteries of the Unseen WorldClient: National Geographic Cinema VenturesFormat: 15/70mm IMAX3D (large-format stereoscopic) educational documentaryMysteries of the Unseen World is a 42 minute educational documentary funded by National Geographic and produced by Day's End Pictures. The delivery specs were 4096x3072 in 3D. The show consisted of 372 VFX shots rendered by 8 VFX facilities and a team of 6 in-house VFX artists.Post-Production duties: Took over day to day communications with all 8 VFX vendors and the in-house VFX artists. Updated VFX shot database and tracked VFX schedule and budget of all 372 shots. Prevized and slap comped shots for editorial to try cutting in to edit. Bid new VFX shots as edit changes were made. Negotiated shot costs and overages with VFX vendors. Composited a handful of shots myself if it was faster to just do it opposed to going through the lengthy process of bidding, awarding and turning over elements to vendors. Photographed VFX elements such as time-lapse and BG elements.

Show title: Mysteries of the Unseen WorldClient: National Geographic Cinema VenturesFormat: 15/70mm IMAX3D (large-format stereoscopic) educational documentaryPre-Production duties: Created VFX shot database in FMP to track bidding process. Prevized and slap-comped VFX shots to ensure accurate bids by vendors.Production duties: Functioned as the on-set VFX data wrangler and VFX photographer as well. Worked with camera department to acquire necessary camera data on all potential VFX shots. Logged all camera data in to VFX database. Photographed textures, reference, and HDRI sphericals for CG lighting. Worked with DIT and organized all VFX assets on location to ensure error-free turnover of the assets to Production.Post-Production duties: Updated VFX database functions as needed and entered all data and notes. Operated in-house 4K projection system to project VFX dailies. Adjusted stereo misalignments for VFX plates (Position, rotation and scale only. No geometry rectification). Managed data transfers and turnovers to and from vendors. Scheduled all meetings and calls between the VFX department (Director/VFX Supervisor/VFX Producer) and VFX vendors.

Show title: Wildest Weather in the Solar SystemClient: National Geographic Cinema VenturesFormat: Stereoscopic 4K spherical full-dome planetarium show (full cg educational doc)Wildest Weather in the solar system is a 22 minute educational documentary funded by National Geographic Cinema Ventures and produced by Day's End Pictures. The show was a Full-CG spherical production released in full-dome planetariums world-wide. The delivery specs were 4096x4096 in 3D. The show consisted of 130 VFX shots rendered by 3 VFX facilities, 2 out-of-state vendors and 1 in-house shop.Pre-Production duties: Assembled assets delivered from previz artist in to FCP timeline. Worked with previz artist to come up with shot angles that had effective "full-dome" experience. Delivered scene cuts to in-house full-dome viewing station. Production/Post-Production duties: Assembled VFX shots in to FCP timeline daily. Adjusted the edit per Director/Producer. Onlined the edit to AE in 4K3D. Conformed the show.

Show title: Wildest Weather in the Solar SystemClient: National Geographic Cinema VenturesFormat: Stereoscopic 4K spherical full-dome planetarium show (full cg educational doc)Pre-Production duties: Compiled research material for writer. Coordinated meetings between client and development (producer/director and writer). Took and relayed story notes. Liaised between development and previz artist. Managed asset pipeline between previz artist and editorial. Production/Post-Production duties: Liaised between production and 2 out-of-state VFX vendors (London, North Carolina) and tracked assets/notes/schedule/shots coming in and out. Managed a team of 12 in-house VFX artists and tracked assets passed to and from editorial. Conformed the show in AE for multiple delivery formats.

Show title: SweetheartFormat: 2K2D digital short narrative (Arri Alexa, Red Epic, Canon C300, 5Dii workflow)http://www.sweetheart-themovie.comSweetheart is a 20 minute arthouse sci-fi horror film. There were 32 stand-alone VFX shots and 30 more shots required VFX enhancements in DI. Pre-Production duties: Established camera settings for all 4 camera formats and crop values for anamorphic and standard shots.Production duties: Functioned as DIT. Copied and backed up all camera raw as they came in. Generated dailies for DP. Created archives for VFX. Generated viewing LUTs for Director and DP.Post-Production duties: Established digital pipeline from editorial to VFX to conform using limited resources (FCP and AE to Premiere to Resolve). Determined final aspect ratio of all scenes (film required shift in aspect ratio as part of the narrative).

Show title: SweetheartFormat: 2K2D digital short narrative (Arri Alexa, Red Epic, Canon C300, 5Dii workflow)Sweetheart is a 20 minute arthouse sci-fi horror film. There were 32 stand-alone VFX shots and 30 more shots required VFX enhancements in DI. Pre-Production duties: Broke down the script for VFX. Ran VFX tests on multiple shots as proof of concept for the Director. Tech scouted with Director and DP to suggest appropriate use of VFX.Production duties: Took camera measurements and gathered on-set VFX data. Photographed HDRI and CG BGs and reference. Rough tracked and slap comped CG elements on-set to validate the plate was good for comp.Post Production duties: Created VFX shot database and tracked all shots. Compiled a team of 4 VFX artists. Composited 16 shots.

Read scripts and wrote coverage. Covered assistants' desks. Made copies of scripts. Made sure the snack room was always stocked up and there was coffee in the pot. Picked up coffee across the street for high profile visitors. And other typical intern tasks.

Project: MagabonProject Description: Magabon was a website where users can preview magazine articles through their browsers, a couple days before the prints hit the store shelfs.Lead a team of 8-12 interns who'd cut out pages of magazines, scan, and retouch in Photoshop to publish on to the web. Designed/produced video manuals to mitigate resources spent on training new interns.