I’ve always been fascinated by Rube Goldberg machines—those intricate contraptions where one small action triggers a chain of specific, delightful reactions. They embody the magic of transformation: a blank space filled with doodads and knick-knacks becomes something entirely new. That’s exactly how I feel about working with VFX. The specificity, the playfulness, the way a vision takes shape—it’s endlessly inspiring.From Producer to DirectorI started my career as a producer, working on traditional commercial spots and later with UNIT9, where I discovered the endless technical possibilities of VFX. It quickly became clear that I had a knack for bridging creative vision with technical execution. This ignited a passion for merging real and imagined worlds to create stories that felt magical yet grounded in emotional truth.My first opportunity to direct with VFX came on an Ad Council spot, She Can STEMShe Can STEM. The project combined 2D and 3D animation with classic visual effects techniques, resulting in something colorful and unexpectedly fun. I was hooked. 'Gator Girl'When I decided to direct my most recent short film, Gator Girl, I knew it was time to take a leap of faith—even if it meant eating into my savings and leaning (HARD!) on every collaborator I knew. This film allowed me to merge my storytelling skills and visual effects desires fully. This experience profoundly shaped my directorial voice and gave me some invaluable insight into the medium that made me: VFX. Today, I’m driven by the desire to create films that blend technical innovation with...
Published By: NoFilmSchool - Yesterday