Full graphics systems
Show opens, title sequences, lower thirds, transitions and templated toolkits other editors can pick up and run with. Built for episodic schedules and network delivery.
Blank page to final delivery.
Motion design, 3D and VFX. Twenty years across broadcast, documentary, game cinematics and large format LED, designing whole packages and finishing them.
The last two years went into a series on global education reform and a documentary on press freedom. I want to keep making work that argues for something, with people who are trying to do something difficult.
- Reel
- Motion graphics and animation
- Disciplines
- 3D, motion design, VFX, compositing
- Stack
- Cinema 4D, Octane, Maya, After Effects, Premiere, Unreal
- Based
- Santa Monica, California
What I am hired for
Rendered and composited
Cinema 4D with Octane and Redshift, X-Particles simulation, product and logo systems, character work, and integration into live plates.
Concept through delivery
Script, storyboard, lookdev and launch, including hiring and directing outsourced animators through review cycles when a project needs more hands.
Real-time and AI assisted
Unreal Engine production, ComfyUI generation folded into commercial work, and an on premises GPU pipeline that keeps embargoed assets in house.
Case study, series end to end
Lessons Learned
An eight part animated series adapting Fenton Whelan's book on global education reform, produced for Acasus. One person, whole pipeline, delivered.
- Role
- Writer, director, motion graphics, editor
- Client
- Acasus
- Deliverable
- 8 animated episodes and a resource site
- Year
- 2025
Acasus had a book and an audience of education ministers, administrators and policy leads across more than forty countries. What they did not have was a way to get one to the other. The brief was to turn a dense policy text into something a busy official would actually watch.
I adapted the source material into eight scripted episodes, recorded the voiceover, and built the series out end to end: edit, b-roll, sound design, motion graphics and lookdev. Character animation was handled by an animator I hired and directed through the notes and review cycle to final delivery.
The series needed somewhere to live, so I designed and built the companion resource portal. Seven core principles, downloadable reports and an audio series, structured for educators and policymakers rather than for a marketing funnel.
Case study, graphics package
Feature documentary
graphics package
A complete motion graphics system for a feature documentary on press freedom and human rights, built around an original gameshow conceit. Title sequence, animated studio, interview treatments and integrated VFX.
Title card
Anchor set
Interview grid
Lower third and panels
- Role
- Creative director and motion designer
- Reference
- Saul Bass, mid century title design
- Deliverable
- Titles, lower thirds, interview treatments, VFX
- Year
- 2025 to 2026
The film covers journalists and human rights work in conflict zones. It needed a graphics language that could carry hard information without flattening the tone, and without the usual documentary vocabulary of maps and dossier folders.
The package takes its cues from Saul Bass. Flat color, cut paper, torn edges, and bold type doing the work that camera moves usually do. Bass built title sequences that were graphic rather than photographic, and that idea carries straight into a gameshow conceit: the format does the disarming, so the content can stay serious.
I directed and produced the whole package. Title sequence, an animated studio environment built to receive live plates, a nine up multicam interview treatment, a lower third and panel system, and integrated VFX across the cut. Everything was built as a reusable system rather than one off shots, so the team could extend it without coming back to me.
Selected work
The Osteo Center
An athletic performance spot owned start to finish, including live action direction on set.
Lockton, brand motion identity
A rebranding motion identity and 3D logo system for a global insurance brokerage. Corporate constraints, no compromise on craft.
Mushrohms
A short film built as a full 3D environment. Lighting, lookdev, set dressing and render carried entirely in Octane.
Real-time animated short
An annual campaign piece produced entirely in Unreal, and where most of the real-time pipeline work gets tested each year.
Walmart Cookshop
Broadcast style motion design for an interactive cooking series fronted by Jamie Oliver, produced for eko.
KIND Bar
Social campaign work for The Elastic Mind Project, cut for reach rather than for broadcast.
Editing
Design and edit,
in the same seat.
2004Cutting in Premiere since. Still the primary NLE.
17Episodes cut and delivered across two series
100sOf hours of footage cut over the years
Editing has run alongside the design work for two decades rather than instead of it. YouTube series and shorts, Instagram shorts, multicam podcast sessions, and social cutdowns, plus two full episodic series.
During the pandemic I cut and finished VFX on Isolation Station, a nine part comedy series written and shot by Max Emerson, five to eight minutes an episode. And the animated series above, which I scripted, cut and delivered myself.
The useful part is that nothing waits on a handoff. When a sequence needs a graphic that does not exist yet, I build it and drop it in the timeline the same day.
Selected clients and productions
NFL NetworkRiot GamesUbisoftCoca-ColaParamount PicturesDiscoveryNational GeographicHennessy
NFL NetworkRiot GamesUbisoftCoca-ColaParamount PicturesDiscoveryNational GeographicHennessy
FXHistoryLocktonUFCWynn MacauJakks PacificGrand LisboaSingtelWalmartAcasusKINDDaktronicseko
FXHistoryLocktonUFCWynn MacauJakks PacificGrand LisboaSingtelWalmartAcasusKINDDaktronicseko
About
I am a motion designer and creative director based in Santa Monica, with about twenty years across broadcast design, documentary post, game cinematics and large format LED.
What connects the work is ownership. I have built graphics packages for Discovery and History series, led character animation on cinematics for Riot Games and Ubisoft out of Shanghai, designed stadium scale LED content, and written and directed an eight part animated series solo. I am as comfortable designing the system as I am putting the episodes together.
Recent work leans real-time and AI assisted. I run an on premises GPU pipeline, which means unreleased product and pre announcement assets never leave the building. No third party cloud rendering, no external service dependencies.
The work I care most about has an argument in it. The last two years went into a series made for education ministers across more than forty countries, and a documentary on press freedom and journalists working in conflict zones. Both were subjects that could easily have been made unwatchable. Making them land was the job, and that is the work I want more of.
Stack
CAdobe Creative Suite, After Effects, Premiere, Audition, Unreal Engine, ComfyUI, Cinema 4D with Octane and Redshift, Maya, Nuke, Resolve