Experience

DigitalFilm Tree

• United States
• Entertainment Providers
• 1 - 100 Employee

• Nuke Compositor

  • Oct 2022 - Present

  I am a "Permalance" NukeX Compositor on contract with Digital Film Tree. I am a "Permalance" NukeX Compositor on contract with Digital Film Tree.



EK Video

• Vancouver, British Columbia, Canada

• Nuke Compositor

  • Jan 2022 - Present



IATSE 669

• Movies, Videos, and Sound
• 1 - 100 Employee

• IATSE 669 Motion picture video coordinator

  • Oct 2017 - Present



APPLE TV LIMITED

• Vancouver, British Columbia, Canada

• Video Assist - Surface

  • Jun 2021 - Oct 2021

  I worked as the Video Assist operator on Surface. I recorded each take, logged notes pertaining to the shot and scene with an audio feed from the sound mixer and every active camera feed. I ran multiple video villages, supplying on average 12 production monitors as well as various wireless solutions. Our Executive Producers in Los Angeles also required live feeds so I streamed every day to them with Qtake Cloud and various in house bonded cellular solutions I have developed for remote streaming work. Surface was a departure from the action and VFX heavy work I am used to, yet the production will remain as one of the most fulfilling experiences of my career. Show less



APPLE TV LIMITED

• Vancouver, British Columbia, Canada

• Video Assist - Pachinko Vancouver 2nd Unit

  • Feb 2021 - Mar 2021

  I worked as the Video Assist Operator on the Vancouver 2nd unit. Pachinko was a challenging production due to both my self and the main unit Video Assist operator regularly switching which unit we were servicing on any given day. This challenge required us as Video Assist operators to develop a workflow to reference and view current scenes being shot on both units as well as takes from prior shoot days. I developed a method of streaming both units live camera feeds to the partnering units Qtake system so that we could show our individual directors what the other units were shooting as the directors switched units from time to time, we also made this easy to ingest prior takes from each others Qtake video assist stations remotely without having to go back to the old ways of backing up footage to an external hard drive and delivering it to the other unit, then unloading the drive and accessing the footage which had its fair share of issues not to mention it simply is not an efficient usage of time waiting for drives to be passed back and forth. I also performed VFX work on set for scenes originally shot in Korea that underwent re-writes, usually these were shot on green screen with plates of the original scene but the actors original take was painted out allowing us to match lighting and have the actor react to the other actors in the scene without them being on set. Show less



Netflix

• United States
• Entertainment Providers
• 700 & Above Employee

• Video Assist - The Haunting Of Bly Manor

  • Dec 2019 - Feb 2020

  I worked as the Video Assist Operator on The Haunting of Bly Manor. I supplied VFX referencing services to production while working with the Visual Effects Supervisor and the various directors to ensure the visual effects heavy scenes were shot correctly. I performed Multi layered motion control composites in real time for the actors to perform with while shooting many of the "twinning" scenes in the show. Multi layer motion control composites are multiple takes of a scene shot on a repeatable robotic arm and camera system to achieve pixel perfect camera movements in each take, this enables us to shoot one "pass" with an actor playing "Character A" then another pass as the same actor playing "Character B" talking with them selves and acting in such away that the viewer believes they are watching a person interact with them selves in a scene. As additional characters or elements are added we shoot another "pass" and so on. The importance of my role is to trigger the Motion Control unit at the correct time while playing back and muting the dialogue from the previous pass in order for the actor to "react" accordingly, as well as things like making sure the talent is not in the same space as the other character from the previous pass. Once the passes have been shot I then composite and render a final timed edit of the scene with audio for the director to approve, editorial and the VFX supervisors also receive a copy as reference. Show less



Netflix

• United States
• Entertainment Providers
• 700 & Above Employee

• Video Assist - Away Season 1

  • Sep 2019 - Oct 2019

  I worked as the Video Assist operator for Edward Zwick and Jeffery Reiner on Season 1 of Away. I composite and verify the "zero gravity and low gravy" sequences with off speed playback and composited real time playback layers for dialogue scenes where the space suites were slowed down and the actors faces in the helmets were real time to achieve the required look. I worked as the Video Assist operator for Edward Zwick and Jeffery Reiner on Season 1 of Away. I composite and verify the "zero gravity and low gravy" sequences with off speed playback and composited real time playback layers for dialogue scenes where the space suites were slowed down and the actors faces in the helmets were real time to achieve the required look.



Rainmaker Entertainment

• Canada
• Animation and Post-production
• 1 - 100 Employee

• Junior Compositor

  • Jul 2017 - Oct 2017



Bardel Entertainment

• Canada
• Animation and Post-production
• 300 - 400 Employee

• Compositor/Lighter

  • Apr 2017 - Jul 2017



Sport Chek

• Canada
• Sporting Goods Manufacturing
• 700 & Above Employee

• Service Shop Technician

  • Jun 2016 - Apr 2017



FGL Sports Ltd

• Canada
• Retail
• 700 & Above Employee

• Service shop manager

  • Aug 2010 - Dec 2011