NextVR is a technology company that develops extreme-resolution capture systems, volumetric camera systems, computer vision algorithms, post-production tools, high-quality real-time compression systems, advantaged content streaming technologies, mobile-based media/geometry players, and content discovery clients on all best-in-breed VR/MR platforms.I lead a multi-disciplinary R&D team for live-action camera systems development. These teams include:A live-action production operations and field trials deployment team. An AR and virtual asset pipeline integration team. A volumetric capture and scene reconstruction team. A media pipeline and workflow optimization team. A real-time virtual-production development team.The combined efforts of these groups constitute "the-tip-of-the spear" for delivering assets to our post-production, VFX, live & VOD streaming services, backend, and client/portal publishing teams.--Additional Reading--Nextvr is not a "production-company or studio for-hire." However, we are proudly operating the two highest capacity uncompressed IP 8K production trucks in the US. Also, my teams had designed, build, and scaled-up the most extensive inventory of HFR, HDR, and WCG VR camera systems. All these assets are remotely operated (REMI/At-Home-Production) from our Production Control/NOC & TOC's in Newport Beach, CA. NextVR, in concert with right holding partners, utilizes its content creation and public-facing streaming media operations as a real-time feedback loop with its users base. This loop helps us to ideate, deploy, field test, harden, economize and innovate on the technologies that bring the company mission statement to life: "To capture and transmit the world in perfect fidelity."Yes, the real-time, live-action, get up and walk around interactive "Holodeck" experience is on the path to becoming a reality.You check out the NextVR live broadcast and VOD release schedule at www.nextvr.com.

I was charged with the responsibility of transitioning a 30+ year industry icon from a celluloid centric camera & lens provider to one of the most respected and innovative digital cinema houses in Hollywood.Armed with a "no compromise & no expenses spared" directive, my transition plan emphasized staff empowerment, QC process modernization, virtual productoin tool integration, inventory operations optimization, and sustainable ROI post-transition. However, above all, providing the most reliable and highest quality support and equipment to cinematographers and their crews 24/7, anywhere, was goal #1.Key vendors specializing in camera systems, file-based dailies, rapid industrial prototyping, high throughput storage, enterprise MAM, high-speed file transfer, on-set pre-viz, and color & calibration management tools were engaged to deliver "best-in-class" products far beyond current industry standards.This transition plan saw no staffing level changes and ushered in many firsts. Some of these include:First mass investment into Codex capture and media management tools by any rental house to guide the industry away from tape-based recording. The first adopter of the Sony F65 8K-120fps-RAW capture systems. The first camera facility to provide complete lens maps of any lenses in inventory for VFX work, free of charge. The first camera house to build a post-production lab dedicated to post-prod workflow testing, look/color management development, and new product testing & performance validation.These post facilities were used exclusively for continual staff development and to help shield cinematographers, camera crews and post-supervisor clients from "fly-by-night" dailies and post-facility negligence or incompetence. Additionally, a pro-active education & outreach based approach to engaging with a clients post-house early in show prep, typically led to a more long term productive, creative, trusting and economically beneficial relationship for all parties.

Designed, integrated and commissioned the AEG Digital Media production facilities at LA Live for IPR services under lead systems architect and project manager, Dennis Kornegay. The $25 Million production facility was built as a tightly integrated, multi-platform, multimedia content generation campus, and distribution center for live, live-to-tape, and live streaming media productions.

Worked directly with camera vendors to modify, improve and harden existing and prototype camera systems for cinematic and live broadcast production environments.Designed and implemented the on-set mastering, camera-to-recorder fiber optic transmission systems, on-set color, and dailies workflows for Avatar, 3D, Journey to the Center of the Earth 3D, Speed Racer, Public Enemies, and Final Destination 4 among others.Designed and fabricated mechanical & electrical control components for the Fusion3D camera systems. Managed Simulcam real-time virtual production system integration with Fusion3D camera systems for "on-set pre-viz" capture.In addition to digital cinema and internal product design efforts, built the world's first multi-cam stereoscopic production OB truck for live NBA game broadcasts and capture of the U2 3D, Hanna Montana and the Jonas Brother 3D concert films. Designed the first stereoscopic multi-viewer wall solution and remote camera control systems to meet the challenges of live stereoscopic broadcasting in a 100% uptime sports production environment.

Digital Cinema Educator. HD Systems Engineer. DIT. 3D modeler and animator. Editor. Meta-data workflow and management tool development for HD camera lens and pose telemetry capture.