SKILLS

Proficient in motion capture processes, from live on-set motion data capture & capture volume construction/calibration, to post-processing, tracking, & editing, and re-targeting performance data for both body & face in post-production.  Software proficiency in: the Lightstorm Software Suite, Autodesk’s MotionBuilder & Maya, After Effects, Epic’s Unreal Engine, Jira, Shotgun. Familiar with scripting languages, such as Python, MEL, tcl. Comfortable in Windows, Linux, and Mac platforms

WORK EXPERIENCE

Goodbye Kansas Studios, Stockholm, Sweden — MAY 2019 - PRESENT

Current Position: Senior Motion Capture Supervisor

  • Primary responsibilities are overseeing the studio’s adoption of the Lightstorm Capture Suite, the first of its kind in Europe.

    • Brand-new capture volume construction and calibration

    • Pioneering Qualisys camera integration with Lightstorm

  • Training personnel in pre-production, on-set capture, and post-production techniques unique to Lightstorm

Profile Studios, Atlanta, Georgia, USA — NOVEMBER 2014 - APRIL 2019

Former Positions: Virtual Production Pipeline Technical Director, On-Set: RealTime System Operator

  • Marvel’s Avengers: Infinity War & Avengers: Endgame (2016-2019) :

    • Real Time System Operator - live on-set motion data capture + simulcam display at Pinewood in Georgia. 

    • Surveyed live sets to properly define and calibrate the motion capture volume.

    • In Post - Maintained Shotgun database; processed, assembled, and QC’d motion capture data.

  • Disney’s The Mandalorian (2019) :

    • Involved with Epic Games,ILM, Lux, and Profile Studio’s collaboration in developing the camera tracking process and media wall projection used to create the show.

  • Welcome to Marwen (2018) :

    • Responsibilities included managing a Shotgun database, organizing client requests / communication, and assembling and QC’ing motion capture data for final delivery.

  • Marvel’s Thor: Ragnarok (2016-2017) : 

    • RealTime System Operator - live on-set motion data capture + simulcam display at Village Roadshow in Gold Coast, Australia. 

    • In post - tracked and edited image-based motion capture data for final delivery.

  • Marvel’s Black Panther (2016) : 

    • RealTime System Operator : Operated virtual camera volume for previs / shot planning with the Director, Director of Photography, VFX Supervisor, and the pre-visualization vendor.

  • Star Wars: The Force Awakens (2015) :

    • Tracked and edited image-based body capture data for the character Maz.

  • Microsoft 343’s Halo 5: Guardians (2014) : 

    • Tracked and edited image-based facial capture data for pre-rendered and in-game cinematics.

  • Full List of projects: https://www.imdb.com/name/nm3782386/?ref_=nv_sr_srsg_0

Giant Studios, Atlanta, Georgia, USA — DECEMBER 2013 - NOVEMBER 2014

Former Position: Motion Editor

  • Call of Duty: Advanced Warfare (2014) :

    • Tracked and edited body capture data for in-game cinematics.

  • Monolith’s Middle Earth: Shadow of Mordor (2014) :

    • Tracked and edited facial capture data for in-game cinematics.

EDUCATION

Savannah College of Art and Design — Master of Fine Arts, VISUAL EFFECTS

SEPTEMBER 2010 - NOVEMBER 2013, SAVANNAH,USA

  • Concentrated my thesis work on procedural environment generation in Houdini for use in game engines.

  • Strong concentration in motion capture practices.

  • Two-time teacher’s assistant to Prof. Deborah Fowler’s Motion Capture class (using a 12-camera Vicon Blade system).

Savannah College of Art and Design — Bachelors of Fine Arts, FILM

SEPTEMBER 2005 - MAY 2009, SAVANNAH,USA

  • I received a Bachelors of Fine Arts in Film and Television, concentrating my studies on film editing.

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