Gen AI FilmmakerPipeline DeveloperCG Supervisor
I make generative AI films and build the pipeline tools that produce them. 25+ years supervising animated features and Oscar-winning VFX taught me what a film actually takes: every shot, every asset, tracked and approved.
01 — Generative AI
I make AI films, and I build the production tools that make them. Two original music films, directed with a crew of AI agents and the review process of a VFX supervisor.
Reel · 2026
Five pieces in one reel: FINAL CUT, its behind-the-scenes breakdown, HUMAN VERIFIED, a before-and-after VFX reel and the sound poem PRIMITI TOO TAA. A short card before each one lists the image, video, voice and music models used, and how a crew of AI agents carried the work from prompts to the final cut.
Original music film · FLARE
A music video about making its own music video. FLARE stops waiting for permission and shoots through the night with a crew that never sleeps. The song, the images and a designed desktop interface tell three layers of the same story.
Original music film · FLARE
A verification system loses its certainty. Silver interiors open into coastal daylight while kinetic lyrics, diagnostic graphics and CAPTCHA grids make the system around FLARE visible, composited into a directed, shot-by-shot VFX workflow.
The idea
After 25 years supervising CG animated features and VFX films, I recognize the shape of the problem: you make everything for every shot. Each shot needs its own assets, layout and motion, and depends on other shots and assets. All of it has to be tracked, versioned and approved.
Most AI video tools stop at the single clip, because they were built by people who haven't worked on a film. I build the other half: asset dependencies, tracking, review and approvals, the way an animated feature actually runs.
Stills are cut to the song with Remotion graphics on top, so pacing, shot order and kinetic lyrics get reviewed while pictures are still cheap to change.
Video takes replace stills shot by shot inside the same edit. Character references keep FLARE recognizable across looks, rooms and cameras.
Agents build review playlists and open them in my browser. I give voice notes; approvals, rejections and retakes are recorded against the shot and version.
Assets, prompts, references and settings are all recorded, so a shot or the whole film can be re-run when a better model arrives.
415voice review notes
98review playlists
892approvals, retakes & rejections logged
FINAL CUT production snapshot, October 6, 2026
Pipeline tools I've built
Tracking & review
The production tracker behind both films: assets, shots, takes, dependencies, versions, review and approvals, with the full generation history of every result.
Shot direction
Where a shot is directed before it is generated: timed beats, camera and action direction, linked reference images and version history.
Edit & graphics
Cuts the animatic and renders graphics and kinetic lyrics against the song's timeline, so a timing change re-runs across the full film and every shot review.
Agents & review
Agents assemble review playlists and open them in my browser. I give voice notes; approvals, rejections and retakes are recorded against the shot and version.
Open source · ComfyUI
A loop-aware MCP server for ComfyUI: agents build workflows, run them, critique the output and fix it.
Open source · Trackers
MCP servers for ShotGrid, ftrack, Kitsu, AYON and NIM, plus a hub that gives agents one contract across all five production trackers.
Models & tools I direct
Models change fast, so the pipeline treats them as swappable. Automated LoRA training and cross-model prompt optimization sit alongside the tracking.
02 — Film, VFX & Animation
Feature films, series, game cinematics and ride films, from Weta Digital and Walt Disney Animation Studios to DNEG and Axis.
Filmography
Decades of experience across compositing, matte painting, lighting, look development and CG supervision.
03 — About
I make generative AI films and build the tools that produce them, after 25+ years as a CG Supervisor and Art Director in animation, VFX, game cinematics and venue-based entertainment.
I specialize in CG supervision, look development, lighting, compositing, VFX supervision and pipeline development for major studios. Now I build that same discipline into software for generative AI production: shot management, asset tracking, versioning, approvals and a complete generation history.
Burlington, Vermont, USA — working remotely, available to travel globally.
Full-stack tools that automate generative video production with VFX-level rigor: shot management, asset tracking, versioning, approvals and full generation history. Automated LoRA training and cross-model prompt optimization. Advisor to Artomatix on AI-driven texture synthesis.
CG Supervisor on Oscar-winning "Dune: Part 2" (2024 Academy Award for Best Visual Effects) and "Shazam! Fury of the Gods" at DNEG, overseeing every CG discipline from matchmove and layout to final lighting and rendering: arena fights, environments, digital doubles and creatures.
Procedural material systems for "Frozen" crowd characters, hero materials and grooming on "Tangled," and lighting for "Bolt," "Tangled" and "Wreck-It Ralph." Look development pipelines in Mari and Redshift for "Vampirina" and "Bob the Builder."
New workflows for teams of hundreds of artists at Cinesite and Brown Bag Films, including a new XGen grooming and instancing pipeline. Early adopter of cloud rendering and remote collaboration tools, and GPU-accelerated lighting.
Led distributed production teams across continents at DNEG, Axis Animation and Tau Films, managing artists in India, Mexico, Europe, Canada, Australia and New Zealand through rapid technological change.
Partner at Alpine InfoGrafik, designing and manufacturing IoT ski lift status displays with Arduino, CNC routing and 3D printing, plus an AI-driven design system that generates on-brand variations for different ski resorts.
04 — Experience
2024 – Present
Alienrobot LLC · Burlington, Vermont
2024 – Present
Alpine InfoGrafik · Burlington, Vermont
2024
TCL Research America
2023 – 2024
Axis Animation · Glasgow / Remote
2021 – 2023
DNEG · Mumbai / Remote
2018 – 2021
Cinesite Studios · Montreal
2016 – 2017
Tau Films · LA / Remote
2016
Egg Post · Dublin
2013 – 2016
Brown Bag Films · Dublin
2004 – 2013
Walt Disney Animation Studios · Burbank
2003
Weta Digital · Wellington
2003 – 2004
World of Tomorrow · Van Nuys
05 — Consulting
Specialized consulting at the intersection of creative technology, production workflows and emerging tools, balancing creative vision, technical feasibility and business objectives.
Recently advised TCL Research America on developing AI production pipelines for animation, guiding teams through the integration of generative AI tools while maintaining creative control and production quality.
Analyzing and redesigning production pipelines to increase efficiency, reduce bottlenecks and improve creative outcomes, with a specialty in distributed teams and cross-discipline collaboration.
Proof-of-concept solutions that bridge physical and digital, from IoT devices to interactive displays, testing technical feasibility with a focus on the end-user experience.
Customized training for teams adopting new technologies or workflows, including courses on CG lighting, look development and XGen workflows at Animation Skillnet.
Efficient approaches to developing, organizing and maintaining complex digital assets across multiple platforms and production environments.
Tell me what you're building and where it's stuck.
Get in touch06 — Contact
For supervision, AI production, pipeline or consulting work.
