Breakdown: Compilation Reel

Compositing for Sony, Double Negative, and Lighting and Compositing for Walt Disney Feature Animation. Compositing Director for Nickelodeon's Monster High.

DNeg – Star Trek: Picard – Season 1
Timestamp: 0:06
Shot: Spaceship docks over future Earth
Role: Compositor
Full CG shot. Performed in-comp relighting of the ship and Earth to enhance depth and atmosphere. Added ship engine glow and treatment, cinematic lens effects, and a high-resolution starfield to enrich detail and visual realism.

DNeg – Star Trek: Picard – Season 1
Timestamp: 0:11
Shot: Bird of Prey exits warp and attacks
Role: Compositor
Full CG shot. Executed in-comp relighting of the Bird of Prey, planet, and planetary shield. Crafted the warp exit effect, enhanced blaster fire and shield impact, and integrated cinematic lens flare treatments to amplify energy and visual drama.

DNeg – Star Trek: Picard – Season 1
Timestamp: 0:17
Shot: Daytime aerial of Starfleet HQ with Golden Gate Bridge in foreground
Role: Compositor
Integrated CG Golden Gate Bridge, futuristic cityscape, and small crafts into a live-action plate. Performed relighting of the city to unify elements. Added accurate shadow casting from flying vehicles onto buildings, terrain, and shoreline. Created subtle wave interaction along the shoreline-structure intersection, with continuity carried into the sister shot.

DNeg – Blade Runner 2049 (Academy Award Winner – Best Visual Effects)
Timestamp: 0:18
Shot: Futuristic vehicle (Spinner) struck by crashing shoreline waves
Role: Compositor
Integrated CG Spinner into a live-action plate augmented with CG crashing waves, foam, and spray. Performed in-comp relighting, color grading, and detailed plate cleanup. Maintained a high standard of realism, texture fidelity, and seamless integration in support of the film’s Oscar-winning VFX.

DNeg – Blade Runner 2049 (Academy Award Winner – Best Visual Effects)
Timestamp: 0:20
Shot: Rick Deckard (Harrison Ford) struggles for air inside the Spinner
Role: Compositor
Replaced plate and rear windows of the Spinner to integrate CG water effects, including tracked library elements for falling water, drips, and rain. Extensive plate reconstruction supported the integration, with detailed work on subtle FX drips and moisture treatments—enhancing the scene’s tension while maintaining the film’s Oscar-winning visual standards.

Disney – Big Hero 6 (Academy Award Winner – Best Animated Feature)
Timestamp: 0:21
Shot: Hiro Hamada’s first flight test with Baymax
Role: Lighting & Compositing Artist
Full CG sequence from Disney’s first production to replace RenderMan with its groundbreaking Hyperion renderer. Composited in Nuke with integrated FX, optical flares, and glow treatments. Lighting was crafted to dramatize sunlight skimming upper building surfaces and dissolving into shadow, using a bold dynamic range to intensify the action and emotional stakes of the moment.

Disney – Big Hero 6 (Academy Award Winner – Best Animated Feature)
Timestamp: 0:21
Shot: Cityscape pan with full tilt-up tracking shot of Hiro and Baymax launching into the sky
Role: Lighting & Compositing Artist
Extended the lighting setup to maintain continuity across action beats. Integrated FX smoke trails, engine glow, and optical treatments including lens flares to heighten energy and momentum. Emphasized dynamic contrast and warm atmospheric lighting to enhance visual flow and emotional build-up into the flight sequence.

Disney – Big Hero 6 (Academy Award Winner – Best Animated Feature)
Timestamp: 0:21
Shot: Tracking shot of barrel-rolling Hiro and Baymax flying through sky turbines
Role: Lighting & Compositing Artist
Matched the lighting and visual language of surrounding turbine shots. Crafted sunrise atmosphere with raking sunlight on distant turbines and cityscape, connecting the environment to the skydome. Dialed in atmospheric depth, directional sunlight, and lens flares to amplify movement, energy, and location continuity.

Disney – Big Hero 6 (Academy Award Winner – Best Animated Feature)
Timestamp: 0:28
Shot: Plasma blade cutting through metal doors
Role: Lighting & Compositing Artist
Engineered multi-source lighting rig to support interactive plasma blade effect and molten metal response. Designed custom shaders and lighting passes for metal emissivity and FX interaction. Balanced interior/exterior exposure using dynamic key-to-fill ratios and maintained continuity across characters and set extensions. Final compositing in Nuke with layered glows, optical treatments, and defocus cues to guide viewer attention and enhance realism.

The Dark Crystal: Age of Resistance (Emmy Winner – Outstanding Visual Effects)
Timestamp: [Insert timestamp]
Shot: Gelfling flight through luminous blue cavern
Role: Compositor

Integrated blue screen Gelfling puppet into a fully CG environment with bioluminescent walls, animated water, and digital wings. Relit puppet and wings to match CG enviromental lighting. Developed a subtle slipstream mist effect, used deep compositing to embed layered cavern fog, mist, and volumetrics. Combined FX elements—rolling clouds, fireflies, waterfall mist—to create an immersive, atmospheric shot.

Star Trek Beyond
Timestamp: [Insert timestamp]
Shot: Ship chase over futuristic mega-city
Role: Compositor

Composited full CG chase through layered cityscape with atmospheric FX and water-treated camera views. Collaborated with lighting to enhance visual clarity—added rim lights and bloom to separate ships from background. Tuned environmental fog and glow to guide viewer focus through dense complexity.

Star Trek Beyond
Timestamp: [Insert timestamp]
Shot: Close-up of Bones during ship chase
Role: Compositor

Integrated plate of crew member with HUD overlays and windshield FX. Enhanced ship surface with metallic reflections, refractions, and dirt. Used multi pass rendered layers to relit and defocus CG background to reduce visual noise and direct viewer focus to performance.

The Dark Crystal: Age of Resistance (Emmy Winner – Outstanding Visual Effects)
Scroll Keepers Carriage
Role: Compositor

Integrated CG Digital Matte Painting, 3D buildings, and crowd plates with CG carriage elements surrounding the puppet Scroll Keeper. Used ST mapping to enhance texture detail on carriage “arms.” Managed complex over-under compositing with heavy roto throughout the shot.