I started shooting my own Super 8mm films in high school and had always thought about a career in the entertainment industry. In my junior year at the University of Southern California, I got a part-time job working at Paramount as a studio page. Shortly after graduating with a Bachelor's in Business Administration (Marketing/Advertising), I heard that they were in pre-production for the Star Trek: The Next Generation pilot episode. After interviewing with Bob Justman, I became one of the two production assistants that started with the show that first season. Most of our responsibilities revolved around the office: answering phones, copying scripts, getting lunches, etc.

Toward the end of that year, Peter Lauritson, assigned me to be post production assistant. The two supervisors at that time were Rob Legato and Dan Curry. This began my education in visual effects and I couldn't have asked for better teachers than Rob and Dan. I was essentially the gofer for the two effects teams which also included Gary Hutzel and Ron Moore.

When David Stipes joined the Star Trek: Next Generation staff in Season Six, I moved up to being his visual effects coordinator. During that year, David and I worked on the "Relics" episode with James Doohan, the "Fistful of Datas" western show, "Ship in a Bottle," and the Data/Lore episode "Descent Pt. I."

After that year, I switched to Star Trek: Deep Space Nine, and became the visual effects coordinator for Glenn Neufeld. Together we worked on such episodes as "Explorers," "The Adversary," "Little Green Men," and "Shattered Mirror."

During Season 4 of the show, I also got to supervise two episodes: "The Visitor" with Tony Todd playing adult Jake, and an episode that Avery Brooks directed called "Rejoined."

"Star Trek: First Contact" was my first experience working on a motion picture. Industrial Light and Magic did all the work involving the Enterprise/Borg/Phoenix ship shots as well as the shots involving the Borg Queen. I was the Los Angeles visual effects supervisor for that film and had about 90 shots under my wing. My work included the Borg torpedo attack on the town, the corridor phaser fight with the Borg, Geordi-Vision and Geordi's bionic eyeballs, the 1940's holodeck, and the landing of the Vulcan Ship at the end of the movie.

After the release of that film, I went back to the show and became one of the five visual effects supervisors that work on Star Trek: Deep Space Nine and Star Trek: Voyager. I am the swing-supervisor, meaning I get to work on both television shows. As a supervisor, I receive first drafts of the new script and have to immediately do a visual effects breakdown and budget to submit to the production. During first unit shooting, I am on the set working with the director when they are shooting visual effects plates. After the show is locked, I design and shoot elements for compositing of the final effects shots. This may involve 35mm motion control ship shots of either the Voyager or Deep Space Nine models or any other miscellaneous ships that may be required. Since we are doing more and more ship composites using completely computer generated models, I also do storyboards and animatics and work with computer animators to bring those shots to life. I also work with an animation compositor on shots involving phasers or any frame-by-frame animation. Finally, I also closely work with an effects compositor on shots like transporters, viewscreens, ship composites, and such.

In 1992 I was fortunate enough to receive an Emmy working with both Rob Legato and Dan Curry on two episodes of Star Trek: The Next Generation. The awards were for "A Matter of Time" and "Conundrum." In 1996 Glenn Neufeld and I were nominated for a Star Trek: Deep Space Nine episode called "The Jem'Hadar."

Episodes I have worked on include:

(I) Star Trek: The Next Generation
Visual Effects Coordinator

"Realm of Fear"
"Relics"
"True Q"
"Fistful of Datas"
"Chain of Command Pt. I"
"Ship in a Bottle"
"Face of the Enemy"
"Birthright Pt. I"
"The Chase"
"Suspicions"
"Second Chances"
"Descent Pt. I"

(II) Star Trek: Deep Space Nine
Visual Effects Coordinator

"The Circle"
"Invasive Procedures"
"Melora"
"Necessary Evil"
"Sanctuary"
"The Alternate"
"Whispers"
"Profit and Loss"
"Maquis Pt. I"
"The Wire"
"The Jem'Hadar"
"The Search Pt. II"
"Equilibrium"
"The Abandoned"
"Meridian"
"Fascination"
"Heart of Stone"
"Prophet Motive"
"Distant Voices"
"Through the Looking Glass"
"Explorers"
"Shakaar"
"The Adversary"
"Little Green Men"
"Our Man Bashir"
"Paradise Lost"
"Return to Grace"
"Bar Association"
"Rules of Engagement"
"Shattered Mirror"

(III) Star Trek: Deep Space Nine
Visual Effects Supervisor

"Past Tense Pt. II"
"The Visitor"
"Rejoined"
"Empok Nor"
"Favor the Bold"
"Waltz"
"Honor Among Thieves"


(IV) Star Trek: Voyager
Visual Effects Supervisor

"Favorite Son"
"The Gift"
"Revulsion"
"Scientific Method"
"Retrospect"
"Once Upon A Time"