An opening title sequence for a feature documentary about the Cocodona 250, one of North America's most demanding ultramarathons. Real USGS elevation data was processed through QGIS and World Creator into fully 3D-rendered terrain in Cinema 4D, with 1950s topographic maps aligned to the geometry as surface texture. The work extended across the full film as post-production liaison, overseeing 100+ 2D graphics and the final colour grade.

Animation and Design Director

A product visualization for Shopify's suite of newly launched AI tools, built to stay faithful to the product UI while adding significant production value. Frosted glass surfaces, deep space depth, and seamless scene-to-scene flow gave the work a premium tech aesthetic that won the pitch on a motion test. Designs pulled from Figma into Illustrator and Cinema 4D, text finished in After Effects, delivered across five aspect ratios and five languages -- including a first output for the Japanese market. I served as the primary liaison between Shopify's creative and product teams, and guided the supervised audio mix with the audio house through to final delivery.

Creative Lead and 3D Artist

Entheon Biomedical is developing a DMT-assisted therapeutic protocol targeting the core mechanisms behind addiction and drug-seeking behavior. Working directly with the agency and the client, I developed a visual language built around dark navy atmospheres, glowing cyan particle systems, and molecular 3D forms rendered as luminous procedural sculptures -- clinical and futuristic without tipping into sci-fi. I directed the opening 2D title sequence in collaboration with another artist, then took on all remaining 3D work for the full two-and-a-half minute film, delivered in four weeks.

Creative Lead and Principal Artist

A three-campaign engagement introducing Lenovo's F1 partnership, executed working directly with Lenovo's internal team. The scope ran from in-situation-tracked 2D to fully realized 3D environment builds to 3D composited with live-action footage and assets for a stills campaign. I led three separate teams across all three campaigns -- a mix of studio artists and freelance specialists -- while taking on one of the OOH assets myself. Seven artists, eight weeks.

Creative Lead

RBC needed a quick-read ident that could sit consistently across an entire year of spots. Over the course of a month I worked directly with the agency creative team, exploring materials, lighting situations, tracked versus non-tracked approaches, and interactive reflection options before landing on a lightbox treatment -- clean, immediate, and flexible enough to apply across all their content without competing with it.

3D Artist

A launch video for PC Financial's new Mastercard, built to work both as an internal team presentation and a consumer-facing release. Given a blank canvas, we developed a modern kinetic typography treatment elevated with 3D -- a see-say approach that kept the messaging clear while adding production value. Two artists, less than a week.

Creative Lead and 3D Artist

As part of a larger creative team, we contributed filmic looks, text tracking into live-action footage, and the backend 3D animation for the award-winning Hymn Away from Home video -- a 3D mountain summit emerging from a tablet surface, populated with the campaign's location icons as a closing piece. The campaign went on to win a Gold and two Silver Cannes Lions, Gold at the Marketing Awards, Best Brand Film at the US Big Awards, a Webby, and the Applied Arts award for video over 30 seconds.

Creative Lead and 3D Artist

The brief was simple and ambitious: a pop-up book animating itself inside a garden shed. After weighing live-action rigging against a full 3D build we landed on a hybrid approach -- the garden set was constructed and shot in studio, while the book itself was built and animated entirely in 3D. To get the mechanics right, we visited a reference library and studied countless real pop-up books, then built a prototype stand-in for client approval before animating the final. The book functions exactly as a physical one would, rendered in 3D and composited seamlessly into the live-action set in After Effects.

Creative Lead and 3D Artist

Nine product launch videos, nine dev teams, one month. Each video required fully 1:1 UI animation demos for features still in active development, meaning approvals had to be worked smart and sequenced carefully to hit a simultaneous release across all nine. I ensured there was a visual framework across all nine videos to hold them together as a cohesive set, leading a team of internal artists and freelancers through the full execution against a deadline that had no flex. In total the project encompassed over 60 unique UI animations, 120+ button click animations, and thousands of layers.

Creative Lead and 2D Artist

When Singletrack asked if I knew who Jasmin Paris was or what the Barkley Marathons were, I jumped at the opportunity. Their team had accidentally captured history and needed help shaping the footage into something worthy of it. I developed a cinematic 3D opening sequence explaining the race, and stepped outside my usual toolkit to create illustrated portraits of Frozen Head State Park and Jasmin herself on her now-famous final loop. The film has since surpassed two million views on YouTube.

Creative Lead

A month-long campaign introducing Canadian Tire's new loyalty program through 40+ illustrated scenes. Working closely with the original illustrator, we animated existing characters and props while designing buildings and environmental elements to match the established style. The full animation was executed using a combination of DUIK and Rubberhose.

Creative Lead

This is where it started. Brought in for a kinetic type campaign, I pitched a wildcard concept I had no business winning -- and it launched three years of continuous work with the account. Operating out of what is now a drink closet, I built a motion design department from the ground up alongside one other artist, producing over 40 unique ads in the process. The ideas were wild, the pace was fast, no one was saying no, and it's where I genuinely learned 3D and motion design under real production pressure. Why is there a pumpkin mayor? Why are the pumpkins racing?

Creative Lead