Big Blue Ceiling is a thinktank focused on developing next generation human interaction - including commercial software products for mixed reality and platforms for developing and deploying mixed reality content and traditional media content, mediated by AI systems.I am intensely committed to independent R&D of experiences, interfaces, and integration of technologies to create next generation extensions to reality.

• Consulted on and performed comprehensive prototyping of hardware+software integrated experiences for future consumer and work products.• Focused on display systems, wearables, depth sensing technology, computer vision, and machine learning to understand human interaction with technology.• Collaborated with cross-functional teams to develop innovative prototypes for DigitalFish in Menlo Park, California.

I joined the Building 8 team in 2018 to prototype undisclosed next-gen consumer products. As a key member of the product pathfinding team, I leverage the full breadth of my background including my creative design, software architecture and systems engineering abilities to deliver compelling, decisionmaking signal for both near-term (less than one year) and longer term (5-10 years out) product decisions by rapidly building high fidelity prototypes of future technology.

I helped top tier Hollywood media brands, Fortune 100 companies and others communicate in novel ways through unique applications of emerging technologies and established content approaches, fusing my deep technical knowledge with a creative flare.I was focused on the development of unique Augmented Reality-oriented applications for discovery and distribution of branded content, including content discovery and distribution, leveraging automatic content recognition, machine vision, location services and more to effortlessly discover content that users *want* to find, in the times and places they'd like to find it.

I was lucky enough to take Mirada at a time when they were making a fresh start (having just switched from a Windows-centric environment to a multiplatform environment centered on Linux). I have been responsible for designing and developing all aspects of pipeline at the facility and overseeing a focused, fluctuating team of developers. As the industry landscape constantly changes, I keep us nimble and adaptable with platform and application-agnostic tools and a broad vision of the future. This includes not just supporting the customary visual effects activities but in contributing to innovation with emerging technology.The Facility API I have designed and developed provides a ready-made platform for rapid deployment of new tools and advanced functionality by providing interfaces for quick and sophisticated UI generation, centralized pathfinding, easily expandable asset management, and dynamic, central tool configuration on an API that has been validated for all three major workstation operating systems. This approachable but sophisticated interface, and the accompanying full documentation for its modules, classes and methods, enables me to easily manage a fluctuating team of developers who are then able to contribute closely integrated tools to the overall pipeline.I have used much of my prior research and experimentation from Big Blue Ceiling, my independent drop-in pipeline concept, as well as the rest of my aggregated experience in code project management and pipeline development to create a simple, reconfigurable, and powerful toolset for working on visual effects.Over the last couple years, Mirada has been focusing on providing innovative client-oriented VR and other interactive "nontraditional" content and many of my efforts have refocused on R&D for virtual/augmented/mixed reality. In this, I bring a range of experience to tackling new problems, including integrating the very different world of VR applications to a standing pipeline.

Led project teams as a senior developer and developed software broadly in support of data management and standardization. I provided show-specific support in the form of pipeline customization and purpose-built software tools primarily for Nuke and Maya.I also acted as the facility's VFX colorist for much of my time there, deploying and managing show LUTs, troubleshooting color concerns and managing the color pipeline, and providing much of the backend for color science and image transcoding for the facility on roughly a dozen films and countless commercial spots, ensuring that deliverables were presented according to client spec and with appropriate shot grades applied for consistency as part of an automated, proprietary system partially developed and primarily maintained and grown by me.

Pipeline tool development, photogrammetry, on-set tracking/effects supervision and matchmoving.Detected and eliminated common human-mediated failure modes by developing software tools that facilitated moving animation data between artists in ways that reduced effort and limited the possibility for error. Created a filesystem agnostic interface for moving camera and complex animation data between scenes, developed tools for handling stereo camera data, and have had the pleasure of making some really magical things happen with easily moving camera & animation data between different applications on the fly in a nearly seamless way, greatly reducing error and substantially decreasing artist man hours.

I worked to educate, inspire and encourage students through their most challenging projects, providing hands-on assistance to students in their final asset creation class. I worked primarily with compositors and shading and lighting artists, and more generally to students in modeling, animation, character setup, etc. in helping them design and execute challenging projects that would evolve and demonstrate their skills.

Developed and presented course materials covering the integration of live action and CG. Lectured on and wrote training materials for Editing, Tracking, Roto and Compositing disciplines; Coached students through selecting their projects in Compositing and guided them through the planning their shoot and tackling the technical demands of the project.

Prepared interactive and presentation materials for deliverables and events: incorporating video, motion graphics, 3d animation, and Flash/Director interactive experiences. Served clients directly, ascertaining their requirements and leading projects from design to delivery, and contributed as a team member to larger interactive projects.

Designed and marketed cutting-edge experimental clothing and costuming for clubwear, music videos and live performance, as well and producing, choreographing, directing and promoting live performances throughout the Southeastern United States with a focus on extending the brand internationally.Clothing featured on HBO's Real Sex series, costuming and performance choreography for music videos and live performances by internationally renowned musical acts. Sourced industrial materials (adhesives, specialty sheet rubber and other materials), and created unique designs. Managed a group of travelling performers. Opened for industrial/metal act "The Genitorturers" at various venues and provided supporting merchandising and performances.

Prepared or directed the preparation of a wide range of communication, from animation and video to interactive media. Constructed and maintained a catalog system for a variety of digital assets, from cg models and scene files to stock footage, industrial photography and video, government provided media and other digital assets in a variety of different formats. Recruited, interviewed, hired and managed teams of varying size depending on project.AIS Custodian: Ensured compliance with DoD requirements for handling SECRET hardware and information and performed as both a graphic designer and occasional software developer

Developed a bilingual database system for maintaining indexes for scholarly journals in Hebrew and English. Primarily worked in REXX at that time on a 4341 mainframe - so this job may count as archeology nowadays.

Managed a small team of artists and layout personnel as well as performing system maintenance and network mgmt, ensuring timely delivery of this semi-weekly student-oriented independent paper.

Developed several games for the Tandy CoCo 3, primarily in 6809E assembly language. A full color, Vegas BlackJack game with a talking dealer called "Blackjack 512k", an OS enhancement package called "Revelation!" that provided a number of graphical enhancements, improved error messages and simplified user experience, and "Slake Freeman and the Invasion of the Mutant Linoleum Miners" an extensive early graphic adventure using a sprite graphics game engine I developed for the game.Another game, a text adventure, had been developed and sold to Adventure International/Scott Adams, Inc. in the mid 1980s but Adventure International filed bankruptcy before it was released.

Developed a proprietary accounts receivable package for a microfilm transfer company in what might have been the most ironic summer job ever held by a kid: providing software services for a company that would largely be replaced by the sort of task I performed for them.In all fairness, I should say that I'm struggling to be sure this is the right name for the company - but the job was my first and certainly set something in motion that would follow me the rest of my professional life.