A former student of Atelier Met de Penninghen and ENSAD in Paris, classically trained in fine arts and visual communication, I have been working in the field of moving images since the early 90’s. I am now an expert in 2d animation processes and craft.

I started my career working as a designer, director, creative director for TF1 Pub Production, working on broadcast design: Trailers, bumpers, sponsoring ads, and TV show openings. Of note I created the openings for “Sept sur Sept” and Formula one for TF1 while still in art school at age 22, around 1992. In 1993 I partnered with some friends to Create a production company, “Temps Reel Productions”, working on Broadcast design, institutional films, and documentaries.

I moved to California in 2000 and joined Acme Filmworks to work on commercial experimental animation, working on A list commercials and ad campaigns as a jack of all trades with a number of world renowned animators. This was a fantastic way to learn an unusually wide bag of tricks, in about every style possible, from soft pencil animation to moving colored salts under a down shooter. My responsibilities included technical direction, compositing, color grading, creating pipelines to bring artisanal processes to digital pipelines without compromising the integrity of the original styles esthetics, with the occasional directing gig.

Sometimes around 2010 I started working with Titmouse studio to work on animated TV shows and pilots as a technical director and digital compositing artist, working on an endless string of projects, including Metalocalypse, Black Dynamite, Turbo Fast, Moonbeam City, Niko and the Sword of Light, Little big awesome, Nerdland, Star wars Galaxy of adventures, Midnight Gospel, Lower Decks, Pantheon, Legends of Vox Machina, Scavengers Reign.

My work on pilots includes supporting productions in the initial creative phase to assist art directors, animation directors and supervising directors in defining the style of the shows and the production pipelines. The largest part of my time is spent executing the projects vision as a compositing artist or a composite supervisor, in close collaboration with supervising directors and art directors. These days I work mostly as digital composite supervisor, helping the creative teams and artists in every department deliver the best possible shows. Depending on the needs of the production, I can work with edit, story, background art, animation, compositing. I also have a strong discernement for budget and time constraints and always strive to keep productions sane and successful, with work processes that respect artists lives and sanity.

My goal always remains to elevate projects and work on ever more beautifully written and artfully crafted animated films and series.