Commissioned by Damon, Carlton and a Polar Bear and Gallery 1988 to create artwork inspired by the hit television phenomenon, LOST. These paintings were used in the PR campaign to kick off the final season of LOST and in the collection of ABC Studios Top Creative Executive, Barry Jossen.

On a small creative staff, I worked as a Concept Designer and Storyboard Artist for the prequel of Battlestar Galactica, Caprica. My specialty was to help orchestrate camera angles in action sequences and give clear direction on all CGI shots. View the series here.

Here is a sample from the stacks of futuristic cars I designed for a Valvoline commercial. We shot for a look that leaned more on a car look rather than the flying vehicles you may find in Japanese anime. In the end, the client went with something safe. But as far as working on this project I had a great time drawing cars all day long.

Have you ever found cancerous cells or the roots of a tree fascinating? A man named Richard did. He wrote a scifi movie inspired from it. The result is, "The Living Hell." I had the pleasure of storyboarding with him and to become friends with this mad scientist.

London based luxury goods company Dunhill, looked to branch out towards a younger demographic. My contribution included character designs and storyboards for a flash animation. Here are 12 of the 42 panels I made. I had a lot of freedom working on the assignment. Thanks Gaston!!!

I tried my best to post what remains of my former job as Cinematographer & Storyboard Artist at Insomniac Games. Most of which were left behind on my computer at work. These are a sampling of about 30 storyboards I did for a special feature included in the Japanese version of Ratchet: Deadlock. The bottom row are various studies of a scene that never saw the light of day.

These were character designs for a Sony PSP game. I'm not sure what ever happened to this game once it left my hands, all I know is I had a blast designing the characters for the good fellas at Sony Computer Entertainment of America.

My first job from Japan was this commercial for the Fine Pix camera line. These boards were very structured. Details of sitting positions of these characters was also very important for it's comedic result. It was one of those assignments where the client knew exactly what they wanted.

This pilot was shot as a NBC Mini-series that was released a year later. Call it conspiracy, but many of our crew thought the project was developed to help support President Bush's decision to go to war. The drawings you see above was a few quick studies of vehicles we want to use in the desert scenes. As always, I was told at the last minute and had to whip them out in 30 minutes.

Worked with the Cinematics team at SCEA to develop various animated sequences for the Sony Playstation 2 release of SOCOM II: U.S. Navy Seals. The above sequences are the main action shots for the entire animation. The rest of the animation were talking heads so I'll just leave them out for now.

Right here is a perfect example of how fun it was to storyboard "Angel." Most episodes I worked on involved a new monster. One week later the lights go on, camera rolls, and the monster moves into frame. At that instant I realize how magical working in film is. Read my interview with Tokyo based PingMag here.

I had the honor of working on CSI Miami in it's infancy. It was an ambitious gig not for the weak of heart. There were many pictures of slain bodies scattered all around the office. The above concept art is for the big plane crash on episode 1.

I had the honor of working on CSI Miami in it's infancy. It was an ambitious gig not for the weak of heart. There were many pictures of slain bodies scattered all around the office. The above concept art is for the big plane crash on episode 1.