Serving as post-production director, I lead a team of compositors to bring an independent horror animation to the level of polish it deserved. With experience in gothic media such as Castlevania, we created an oppressive, grungy mood and style that complimented the wonderfully disturbed imagery and stellar, skin-crawling sound design.

Key scenes were composited by myself to lay the groundwork for the rest of the team, with quick and efficient work and clear direction resulting in a short that was finished ahead of schedule and found itself making waves in film festivals. Along with its premiere at Fantasia Festival as part of its “Are You Afraid of Fantasia” block, TINKERHELL has been shown at over 15 festivals across North America and Europe, including Screamfest, Imagine Fantastic Film Festival, and Atlanta Horror Film Festival — where it won “Best Animated Short.”

My longest body of work has definitely been compositing for the Netflix animated series Castlevania, as part of my career at Powerhouse Animation Studios.

Often being compared to Berzerk with the visual effects quality of Demon Slayer and the Fate series, this production demanded a high level of quality throughout its run. It posed many challenges, including a heavy amount of post production for nearly every scene, large casts of characters, and an almost “filmic” level of quality across the board.
As such, I can say with confidence that Castlevania contains some of my finest work. It is without a doubt one of the most rewarding projects I had the honor to be involved with, and a fantastic catalogue of my own personal achievements in creative problem solving.

As part of Soundtrec’s video editing team, I produced videos for SEGA’s Sonic Symphony World Tour, which premiered globally, including in Brazil, Japan, France, the UK, and North America, featuring special guests like Kellin Quinn and Johnny Gioeli. These videos were shown during the concerts on the projector screen for both live orchestra and combined orchestra & rock band performances. Additionally, I also edited the 30th Anniversary livestream in 2021, creating visuals and motion graphics elements for the finale performance of "Live and Learn."

I ensured the content honored the passionate fanbase of Sonic the Hedgehog by incorporating subtle references and deep cuts, enhancing the viewing experience. The concert also served as a promotional tool, teasing new releases with positive audience responses.

Because the tour is ongoing, professional recordings are limited, so I provide amateur uploads for viewing needs. Higher quality footage can be negotiated with prospective employers over interviews.

Mattel’s famous Masters of the Universe property saw a refresh in 2021, in the form of the Netflix series Revelation, soon followed up by Revolution. Both series saw a continuation of the 80’s television series with a modern take on the famous original designs. As part of the compositing team for both series, I made sure to keep the fun, “saturday morning cartoon” elements in tact while bringing the quality up to modern standards.

At Titmouse, Inc., I was part of the compositing team for The Legend of Vox Machina, the hit series on Amazon Prime. This show required skillful combination of 3D and 2D assets to make large CG characters feel integrated into the same world as hand-drawn characters with painted backgrounds.

Sporting a comedic tone closer to “prime-time” television, the aesthetics of this show would often emphasize block coloring for its main cast, however dramatic moments and close-ups would sport extra gradation to elevate the moment when necessary. The 3DCG characters would make heavy use of rim lighting to “flatten” their forms while also emphasizing details in their designs. Of particular importance was camera work, as the 3DCG characters would often travel in and out of “Z-space” to interact with the cast. My experience with cinematic camera movement ensured the viewer would feel the impact of high-octane sequences without sacrificing clarity.