E X P E R I E N C E
E X P E R I E N C E
2019 - Present
Walt Disney Imagineering
Glendale, California
2018 - 2019
Carnegie Mellon University
Pittsburgh, Pennsylvania
Role: Imagineer, Technical Animator, Animatronics Programmer
Organization: Walt Disney Imagineering
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Programmed audio-animatronics for attractions in Tokyo Disneyland and Shanghai DS.
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Rigged and animated characters utilizing Autodesk Maya and MotionBuilder.
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Automated pipelines by developing tools to maximize efficiency using Python.
Role: Graduate Teaching Assistant
Organization: Carnegie Mellon University
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Instructed over eighty students over the semester in Maya, Unity, and Adobe Creative Cloud for game development purposes.
2019 - Present
Walt Disney Imagineering
Glendale, California
2018 - 2019
Carnegie Mellon University
Pittsburgh, Pennsylvania
Role: Imagineer, Technical Animator, Animatronics Programmer
Organization: Walt Disney Imagineering
-
Programmed audio-animatronics for attractions in Tokyo Disneyland and Shanghai DS.
-
Rigged and animated characters utilizing Autodesk Maya and MotionBuilder.
-
Automated pipelines by developing tools to maximize efficiency using Python.
Role: Graduate Teaching Assistant
Organization: Carnegie Mellon University
-
Instructed over eighty students over the semester in Maya, Unity, and Adobe Creative Cloud for game development purposes.
Technical Director | Multidisciplinary CG Artist | Creative Technologist
Hybrid artist-engineer working at the intersection of art and technology across animation, games, immersive entertainment, and real-time content creation. Experienced in character workflows and simulation, technical animation, artist-facing tools, production pipelines, and interactive experiences.
Reflect | Character Technical Direction & CFX
As a full-time Character Technical Director at Walt Disney Animation Studios, I contributed to Strange World through character effects, hair and fur simulation, technical animation, rigging, & production workflow development. I collaborated with artists and technical partners to solve shot-specific character challenges, preserve animation intent, & deliver polished secondary motion & deformation across the film’s stylized cast.
Role
Character Technical Director
Character Effects / CFX
Technical Animator
Studio
Walt Disney Animation Studios
Burbank, CA
Project
Animated Short
Released 2022
Tools
Autodesk Maya
Character Sculpting & Deformation Tools
Proprietary Animation & Simulation Tools
Featured Work Reel
360° anatomy sculpting and deformation polish, mirror-aware character refinement, cloth and hair simulation, secondary motion, and final technical animation. Specific responsibilities are identified within the reel.
My Contributions
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Performed 360-degree anatomy sculpting and deformation refinement for character shots, using director-provided drawovers to ensure Bianca’s form and silhouette held up across multiple viewpoints and mirror reflections.
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Added shot-specific sculptural polish where rig deformation was constrained, refining muscle definition and ballet-specific anatomy while preserving the intent and motion of the animated performance.
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Created and refined cloth and hair simulations, including collision cleanup, secondary-motion adjustments, intersection fixes, and final technical animation polish.
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Refined mirror-intensive shots to maintain consistent character anatomy, deformation, simulation, and visual quality across both the primary performance and reflected views.
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Collaborated with animation, character, and technical partners to troubleshoot shot-level rigging, deformation, simulation, and production challenges through final delivery.
Process & Collaboration
My work began with reviewing animated shots and working from anatomy drawovers and creative notes provided by director Hillary Bradfield. Because mirrors were used extensively throughout Reflect, character work often needed to hold up from multiple viewpoints rather than only from the primary camera angle. I performed 360-degree sculpting and deformation refinement to strengthen Bianca’s anatomy, silhouette, and the physicality of her ballet performance, adding shot-specific muscle definition and polish where the rig alone could not achieve the desired shapes. I also refined cloth and hair simulation, resolved intersections and deformation issues, and iterated closely with animation and character partners to preserve the intended performance while preparing the final work for the production pipeline.
Project Context
