Director, Storyboardist, Production Designer, Creative Director, etc.
Thumbnail sketches and finalized shots.
Wrote, directed, and produced a narrative thesis film shot entirely on Super 8 on a sub-$1,000 budget over an off-again-on-again three-year production timeline. Fully storyboarded the film prior to shooting and constructed the primary set environment out of a converted garage space, designing and fabricating all practical elements.
Directed actors and managed all performance development. Designed and executed practical SFX, including a hand-painted latex molded head mounted to a robotic body and a fully articulated miniature stop-motion puppet fabricated through 3D printing, armature construction, painting, and costuming.
Led all post-production, including editing, compositing, and stop-motion animation. Designed and built two additional full-scale installation sets post-production to house immersive screenings for the film’s premiere and thesis exhibition.
Opus is currently (Winter, 2026) in its festival run.
Lead Production Designer
This was my first time working as the lead production designer on a film that wasn’t my own. Set in a post-apocalyptic wasteland, I focused on using visual clutter to communicate what had been left behind. With a tiny budget, I sourced the majority of the props from my own home—which worked out, since my interior aesthetic already leans that way. The set featured a lot of obsolete analog technology, like old TVs, as well as in-universe printed materials. One of the biggest challenges was dressing existing locations instead of working with a blank set. Without the luxury of pre-planning, I relied on my design instincts to build immersive environments on the fly. I collaborated closely with the lighting team to create depth and atmosphere in otherwise static spaces. The experience pushed me to think on my feet and gave me a deeper appreciation for the craft of production design and set dressing.
Art Director and Prop Handler
Served as Art Director for Sedona’s Hollywood, my first lead role on a professional 35mm music video production. I transformed The Silverlake Lounge into a lived-in bar environment, dressing the green room, bar, and stage to reflect the presence of regulars and late-night patrons.
Responsibilities included sourcing and placing props, fabricating drinks, styling food, dressing trash and cigarettes, maintaining drink continuity between takes, and greeking all visible alcohol branding for legal compliance.
Lead Graphic Designer and Assistant Production Designer
As an American Film Institute (AFI) student thesis film, Love Cycle was a large-scale production compared to my other projects at the time. As lead graphic designer and assistant production designer, I was responsible for developing the film’s visual identity system before shooting even began. This included the key art, logo, type treatment, social media assets, and promotional materials for a fundraising campaign. The aesthetic was inspired by Los Angeles Chicano punk culture, which shaped the entire visual language of the project. During production, I designed in-universe posters for fictional punk bands, which were used to dress the protagonist’s bedroom. After filming wrapped, I created the Blu-ray cover for AFI and had my key art featured at the TCL Chinese Theatre in Hollywood—an incredibly rewarding moment.