BACKGROUND
Artist background.
Production mindset.
I came to production with experience as an artist — so I learned how to build assets, manage shot pipelines, and track deliveries across departments in a way that serves artists’ needs. That experience shapes how I coordinate: I know what artists need, and I build systems that hold without constant maintenance.
~30
SHOTS COORDINATED
ON THESIS FILM
~1,500
ENTRIES PER
DATABASE MANAGED
~10
CONCURRENT
DATABASES
WORK
EXPERIENCE
Selected work
Day Runner
2025
FRAMESTORE · NEW YORK
Supported daily production operations across multiple departments at one of the world's leading VFX studios. Coordinated between producers, artists, and engineers. Tracked assets and deliveries using CETA and Excel. Maintained pipeline continuity across a high-volume studio environment.
Assistant to the Department Chair
2025
SCHOOL OF VISUAL ARTS · 3D ANIMATION & VFX
Managed departmental scheduling, communications, and calendar systems. Built and maintained tracking databases of ~1,500 entries each across ten concurrent projects. Coordinated between faculty, students, and external collaborators.
Producer & CG Generalist
SVA THESIS
SOMBER · NARRATIVE CG SHORT
Led end-to-end production on an independent CG short — coordinating animation, FX, and compositing departments. Built shot lists, delivery schedules, and interdepartmental trackers. Managed ~10 external collaborators across the full pipeline.
"Good production is invisible."
When coordination works, no one notices you as a production coordinator—because the schedule holds, the handoffs are clean, and the artists have what they need. You’re there as a supporter of the artists’ process, almost like a steady, reliable ally. That’s the principle I coordinate from.
CONTACT
Let's connect.
Open to production and operations roles in animation and VFX.