The operating standard came from production. Before the L&D leadership work, the craft and the discipline were built on the production floor.
Delivery dates are fixed. Frames have to ship. Quality is judged frame by frame, not by the proposal that preceded the work. The craft has to hold under pressure or it doesn't count.
Production work is the closest thing to a permanent stress test the entertainment industry has. The standard doesn't lower because the week was hard.
Compositing sits at the end of the production cycle. Every upstream delay consumes time from the schedule without moving the delivery date. By the time work reaches the department, the available window has often been compressed significantly. The deliverables still have to ship pixel-perfect and on schedule.
That position teaches a particular kind of operational instinct:
That instinct is the foundation of every L&D function I've built since.
Progressive roles across multiple studios, moving from doing the work to leading the teams that deliver it on major productions.
A small selection of recognizable work across feature films, television, and AAA video games. Full credits available on request.
From early career in Winnipeg through the major VFX hubs of North America and an international deployment to Mumbai.
Long-term base in Vancouver, with cross-studio work in LA and SF, and a seven-week on-site deployment to Mumbai for the Gener8 satellite launch.
Welcome to the LA office. From the team.
Selected excerpts from colleagues and supervisors across the production-era work.
Production work taught me that capability is judged by what ships. That standard transferred forward into every operational role that followed: build the systems that hold under pressure, deliver capability that transfers to the actual work, measure outcomes in what people can do, not what they can recite.
The leadership pattern started at Gener8. The craft started here.