As Tippett Studio has taken on more projects looking for internal creative stewardship, I was elevated to oversee and manage the development for original projects, including film, TV, commercials, Mixed-Reality, Mobile and Location-Based content. I have been supervising teams of theme park industry veterans as we work to develop an original slate of content. Projects include a broad marketing campaign for Jurassic World: Dominion (Universal Studios) and Google Meet's Video Platform (Google).

After I helped Tippett Studio expand into theme park entertainment in 2012, writing and co-producing Dream of Anhui (a 6-minute photorealistic flying theater attraction installed in Wanda Movie Park, Hefei, Anhui, China), our project was nominated for a VES Award for “Outstanding Visual Effects in a Special Venue Project” (2017). I subsequently became the studio's in house creative writing department, crafting pitches, storylines and screenplays for six produced rides which also include Fly over Sichuan (2021) and Fly over Chungqing (2021). This role also called on me to act as Executive Producer for Commercials, several New Media (VR, AR, 360-degree storytelling) productions, and a variety of original content development, working directly with founder and Oscar-Winner Phil Tippett. In addition, I had the privelege to manage all the studio's Themed Entertainment outreach and creative development with partner studios and creative agencies.

I was recruited to join the creative management of Tippett Studio's marketing team, finding innovative ways to promote and extend the company’s presence in the worlds of social media, publishing, original film production and advertising. In doing so, I directed TV spots, revamped the studio logo and website, and launched and managed 3 successful Kickstarter campaigns for Phil Tippett’s independently produced return to stop motion animation, MAD GOD, garnering $200,000+ in funding for the film that went on to get a full theatrical release and festival "best of" awards.Also creatively supervised breakdown "before and after" reels for completed visual effects projects showcasing studio's top tier skills in realistic creature animation and environment creation, leading to spike in advertising work and company's entree into theme park media production.

My first published book, “Your Story, Well Told: Creative Strategies to Develop and Perform Stories that Wow an Audience,” has been call a laugh-out-loud, funny, practical and inspiring manual to develop true stories from concept through presentation.I designed and wrote this book for all ages and skill levels, hoping to teach readers how to mine their own lives for material that will win over audiences ranging in size from one person to the thousands who gather at major storytelling events like the ones on the radio. Whether readers aspire to publish an essay, win a contest, advance their careers or tell better stories at parties, I hope this book gives them all the tools they’ll need.

I regularly host a sold-out, monthly, Story Slam Storytelling Competition and annual "GrandSlam" for San Francisco and Berkeley California's live staged production of the highly acclaimed, nationally syndicated, podcast/radio show "The Moth." I have the honor and privilege of listening to 10 storytellers, their names drawn at random, tell true stories without notes. I also enjoy telling my own true stories. My favorite part of the experience hosting these shows is the opportunity to cultivate the stage as a safe space for performers and storytellers, many of whom identify as shy or introverted, to feel comfortable coming on stage in front of hundreds of strangers, and sharing their lives.

I'm an Actor/Improvisor/Teacher/Member of this 25-person Improvisational Theater company, the longest-running and best known in the Bay Area. We create fully-improvised short and long-form shows with brilliant collaborators in one of San Francisco's best theater spaces, The Bayfront.I also facilitate team-building and skill-development workshops for companies and schools looking to bring Applied Improvisational skills to their teams and communities.

I was elected by the membership and voted on to Board of Managers executive committee as Treasurer of the Bay Area Section of the VES for 4 years out of the 6 I sat on the board. Was a joy to serve this community and plan screenings, educational summits, an anti-racist bookclub, and multiple (amazing) parties.

Voted by the membership to join the Board of the Bay Area Section of the VES in 2016. Actively involved in planning for inaugural Bay Area VES Summit. The VES is a non-profit professional, honorary society, dedicated to advancing the arts, sciences, and applications of visual effects and to improving the welfare of its members by providing professional enrichment and education, fostering community, and promoting industry recognition.

I was recruited by one of the leading media content creation studios in the New York market to grow and manage the direct-client sales process in San Francisco/Northern California. BODEGA, a content creation studio based in NY and SF, creates commercials, brand content, show opens, promos, films and digital media for any platform.

I developed and taught graduate-level classes in production for Animation and VFX Students.Classes: Pre-Production, Compositing, Research & Development, Professional Practices for Animation, Visual Effects & Games. Re-designed Masters Thesis pre-production curriculum. Functioned as faculty advisor on grad student thesis projects, from concept through completion. Oversaw collaborative projects and createdexperiential learning environment for students from around the world.

Mr. Bagel Production created Theater, Film, and Video projects including film festival favorite "Keep Clear," Busch Gardens'​ "Cheetah Hunt"​ commercial and "A Citizens Cry,"​ a wildly successful viral YouTube video campaign targeted to bring out the youth vote ahead of the 2008 Presidential Election. On Stage, Mr. Bagel Productions produced a series of variety/cabaret shows under the title "The A**hole Monologues: A Comedy for Anyone Who Has One, Knows One, or Is One." The shows debuted in San Francisco before traveling to Los Angeles, Aspen Colorado and Off-Broadway. Visual Effects Supervisor- Shriek If You Know What I Did Last Friday the ThirteenthDirector/Creative Director:- Cheetah Hunt (Momentum/The Big Tree/Busch Gardens)- Ustream.tv- Simplee.com- AT&T

I joined XYZ to build an in-house CGI Unit, expanding a traditional print pre-production and retouching studio. I served as the studio's creative liaison between Agency Creatives and production artists for ads, web sites, and commercial work including large scale outdoor boards, magazines, and e-commerce web assets.Active involvement in sales included successful bids for agencies including Goody Silverstein and Partners, Crispin Porter Bogusky, Venebles Bell and Partners, BBDO, Duarte Design, and Draft FCB.

Co-hosted weekly on-air movie reviews with Hooman Khalili during peak morning drive-time radio segment on top rated Bay Area station KLLC (Alice@97.3FM).

Disney's A Christmas Carol.

I had the great pleasure of joining startup VFX company "The Orphanage" to create and grow the studio's capacities in all aspects of Creature Development. My responsibilities including overseeing a staff of 18 artists covering all modeling, rigging, simulation, and animation-pipeline tool development. Heavy multi-tasking, with supervision on multiple shows simultaneously, including bidding, artist management, shot creation, and on-set direction. VFX Supervisor:- Glade "Gingerbread"​ (dir: John Adams)- Nicabate "Battle"​ (dir: Genndy Tartakovsky)- Disney "Toy Story Mania!"​ (dir: David Andrews)- Niquitin "Willpower"​ and "Warning Panel"​ (dir: Genndy Tartakovsky)Creature Supervisor: - Superman Returns- Pirates of the Caribbean: Dead Man's Chest - Gwoemul (aka "The Host"​) - Pulse - Creature design/model/rig - Grindhouse - Rigging, modeling, simulation artist/supervisor- Pirates of the Caribbean: At World's End - Crowd Pipeline development- Iron Man

After interning with ILM in college, I was hired back and spent 12 Years with the groundbreaking VFX Powerhouse through a period of incredible innovation and growth, transitioning from traditional special effects to photorealistic computer graphics. I worked on the biggest films of each year, working variously as a plate restoration (dirt removal) artist, camera matchmove/layout artist, creature setup artist, character rigger, cloth and hair simulation artist. After developing original pitches for animated feature films, I was promoted to the role of Staff Writer, where I worked with a team of story and concept design artists in the creation of original story pitches and screenplays.Credits Include: Creature Supervisor - Son of the MaskCreature TD- The Chronicles of Narnia: The Lion, the Witch and the Wardrobe- War of the Worlds - The Day After Tomorrow - Master and Commander: The Far Side of the World - Terminator 3: Rise of the Machines - Star Wars: Episode II - Attack of the Clones - Star Wars: Episode I - The Phantom Menace- The Lost World: Jurassic Park