I was born in Toledo, Ohio and grew up on a farm in a small rural town outside of the city. It was not your typical working farm but rather a life style choice made by my parents. Rural life instilled in me a solid ethic for hard work that has stuck with me in all aspects of my life.
Being the son of a college professor and a mother who ran the family antique business I was always pushed toward artistic and intellectual pursuits. My parents and siblings inspired in me an avid interest in literature, movies, and photography from an early age. After seeing the movie “Blade Runner,” I developed an intense love for the art of visual effects.
In high school, my first job was at a custom photo lab, reinforcing my enthusiasm for the art and giving me some hands-on experience.
While pursuing a degree in film studies at the University of Toledo, I was especially passionate about the studies of photography and art history. It was here that I gained an eye for composition and design. In 1992 I graduated with a Bachelor of Arts degree.
Shortly after graduation, I got my first job in the film industry working in Chicago for production designer Doug Kraner on the John Hughes movie “Baby’s Day Out.” I moved to Los Angeles in 1994 and worked various Art Department jobs until I landed a position on the film “Batman and Robin.” Here, I assisted 3D animator Lance Hammer in developing animatics for the visual effects and motion control sequences under the supervision of Academy Award winner John Dykstra and Academy Award nominee Andrew Adamson.
In November 1995 I was introduced to Syd Dutton and Bill Taylor, owners of Illusion Arts. I began working for their company as an apprentice matte artist in January 1996. It was here that I have had the pleasure of working with and learning from some of the greatest artistic talents in the film business. Since that time, I have worked on more than 45 feature films. I have been a lead matte artist since 2001 and am also an accomplished compositor and 3D technician.
In 2005, I began doing on-set feature VFX supervision for the film “Annapolis” followed by “Nacho Libre” in 2006. I also assumed post production VFX supervising responsibilities on the winter 2006 release of “Unaccompanied Minors”. I eagerly await my next opportunity to work as a VFX Supervisor.
Recently my career came to a highlight when I was selected to develop and execute a new matte painting for Ridley Scott’s “Blade Runner: The Final Cut.” I was also excited and delighted to work on the restoration of the original matte paintings for the film.
I would like to thank all of the people who have mentored me and had faith in me throughout my career. I couldn’t have done it on my own.
