I build environments that have to feel real. Sets, installations, worlds. Every one of them in service of a story. Physical worlds first. Now commanding the evolution into a chimera of the physical and the imagined.
ABOUT FRAME 01
I'm a filmmaker, writer, and creative technologist. Two screenplays in development, written the old way, because the stories demand it. AI isn't making movies, it's a toolkit, and a powerful one at that.
I get the panic. They're scanning actors' faces and soon all cinema will be re-engineered slop. It isn't true. Every generation of filmmakers gets a new tool and the same conversation follows. The camera was going to kill painting. Sound was going to kill cinema. CGI was going to kill practical effects. None of it happened. What happened instead was that the best artists figured out what the new thing made possible and ran toward it. That's what I'm doing.
Six years building physical sets for Google, Meta, Coachella, and more than a dozen film productions, including a 16mm feature. The last year evaluating and improving generative AI models for a leading AI lab. I know what a set needs to feel real before the camera rolls, and I know what a generated frame has to feel like before it goes anywhere.
AI isn't coming for the storytellers. It's coming for the parts of production that were always in the way of the story. That's good news. That's actually great news.
I write stories a model couldn't invent on its own. Built specifically to live in the gap AI just opened, too strange for a traditional budget and too human to come from anywhere but a person.
SELECTED WORK FRAME 02
Built large-scale custom installations for Always & Tampax, Tito's, BRUNCH!, and Olipop activations. Constructed entirely in-warehouse and shipped to site under live-event deadlines. No retakes, no renders, just craft under pressure.
Providing creative and visual expertise to help improve generative AI models for a leading AI lab. Applying six years of production design experience to assess and inform visual quality in AI-generated content.
Production designer on an indie 16mm thriller. Led all set design and fabrication, delivered under accelerated timelines. Shooting on film means every decision is permanent. That constraint sharpens everything.
Designed and built physical sets for two major social campaigns, Meta's 'Wave' and Google's 'Real Tone.' These had to hold up under the scrutiny of a camera that captures everything.
Production designer across 10+ locations, leading a 5-person fabrication team. Managing that many environments simultaneously demands systems thinking.
▶ WATCH TRAILERWHY FILM → AI FRAME 03
| What I Did On Set | What That Means For AI | Why It Matters | |
|---|---|---|---|
| Production Design | → | World-building for generative models. Defining what a scene should contain, feel, and imply. | AI video tools need creative directors who can articulate visual logic, not just taste. |
| Continuity & Coherence | → | Detecting spatial and temporal errors in generated outputs that break viewer trust. | The uncanny valley is a craft problem. Film trains the eye to close it. |
| Directing | → | Prompt engineering, creative direction, and defining the intent behind a generation. | The best prompt is a director's shot list. Most AI teams don't have a director. |
| Multi-Location Management | → | Managing pipelines across multiple models, teams, and output types simultaneously. | Scale on a film set and scale in a model pipeline require identical coordination instincts. |
| Budget & Sourcing | → | Resource allocation, vendor evaluation, and creative problem-solving under constraint. | Startups need people who maximize output with minimum waste. That's every film. |
| Shooting on 16mm | → | High-stakes, low-margin-for-error decision-making. No undo button. | Permanent decisions build better judgment than infinite iteration. |
CONTACT FRAME 04
I'm finding the team building the next canvas. An AI video company, a studio rethinking its pipeline, or a startup that needs its first real creative force. Based in Los Angeles.