More Work Over the Years
Over 15 years of storytelling across feature animation and VFX. From Mexico City to Montreal, one frame at a time.
Frames from the Trenches
A selection of layout and cinematography work from my years at MPC and DNEG. This reel covers full CG camera blocking and plate integration on Aquaman, including debris timing, statue animation, and a massive sea creature sequence built across projection cameras. At DNEG the work spans the drifting chase sequence on Infinite, where a single fluid camera movement was sustained across multiple shots to hold the energy of the action, and a Foundation sequence where a digi-double travels through an asteroid field into a massive spaceship, with plate animation and camera composition working together to make the journey feel seamless and cinematic.
From Atoms to Ocean
A mixed reel covering layout and cinematography work across five productions. Altered Carbon opens with full CG environment blocking, character camera work, and a microscopic prop push-in that takes the camera from plate level down to atom scale. Catch-22 follows with hybrid plane sequences blending animated CG aircraft into period plate photography. Men in Black: International covers hologram positioning and dagger animation integrated into plate alongside CG characters. The reel then moves into Underwater with full CG deep sea shots built around dynamics and particle FX, plate camera stitches, and large scale creature work leading into the film's final explosion sequence. Aquaman closes the reel as an incremental extension of the previous showreel, revisiting the camera blocking and creature work shown there.