From childhood in the 50's, I have been a rabid fan of visual effects. In high school, I wrote a paper on the science of special effects. I wanted to express what I felt was the importance of the contribution of visual effects to the motion picture industry. Like so many with similar interests, I experimented on 8mm & 16mm film with double exposures, in camera effects & stop-motion animation. I voraciously read whatever was available on the subject. When the Raymond Fielding book, "The Technique of Special Effects Cinematography" was published, processes & equipment used by the industry were revealed & there was no way out for me! After taking TV & film production courses in college, & working in the audio-visual department of the Southern College of Optometry shooting & editing 16mm recruiting & training films, I found myself employed at Motion Picture Laboratories in the optical printing department. Imagine! An optical printer in the most unlikely city of Memphis, TN!
Seven years later, with the help & encouragement of the president of MPL, Frank McGeary, I relocated to Los Angeles. There, I was thrilled to work briefly with an effects pioneer, Linwood Dunn, at his Film Effects of Hollywood facility, and also worked at several other effects companies. In 1978, I was hired as an animation camera operator at Doug Trumbull's facility, Glenco, on "Star Trek-The Motion Picture." I was working along with many industry veterans who had recently completed effects for the Steven Spielberg blockbuster, "Close Encounters of the Third Kind." My immediate supervisor was Max Morgan, who had been a camera operator on the legendary Disney multi-plane camera.
As the industry began to slowly morph from photo-chemical processes to analog video & then digital, I began to work in various corporate video departments producing, shooting & editing communication & training productions. During this period, I was given the opportunity to produce the stop-motion sequences for Marius Penczner's production, "I Was A Zombie For The FBI" & ZZ Top's music video, "TV Dinners", which Marius also produced & directed. After one more stint at MPL, now MPL Film & Video, as studio manager & location videographer, I free-lanced in the local production community. I then found employment as chief projectionist in the newly opened IMAX theater at the Pink Palace Museum. There, I have been able to utilize my previous experience producing IMAX powerpoint pre-shows as well as various in house video productions.
The availability of today's desktop software has allowed me to produce animation, graphics & visual effects for many projects in a free lance capacity. I hope you will enjoy the examples of my work which are presented on this site. Thanks for visiting!