You started out in practical effects on movies such as A.I., Terminator 3 and Spider-Man. Why did you make the transition to visual effects?

I had many wonderful experiences working with practical effects — specifically, animatronics and miniatures. The call for that kind of work was decreasing, and when I made my own film, Astronaut: The Last Push, I began the process of learning VFX in order to complete it.





How did your practical experience translate into VFX?

The transition was much smoother than expected as I found compositing very similar to building models. It is a patient process of taking many parts and making them appear as one, seamless whole.

Working with practical effects also familiarized me with the process of capturing effects through the lens of the camera and how light and physics play together. I believe understanding the camera and how physical events, such as explosions and water, play in the real world is essential to visual effects.