Animation for science, medicine and research — where the visual has to be accurate before it is beautiful.

Over two decades of medical and science CGI for WebMD, CFF, PBS NOVA, National Geographic, Discovery, Pixeldust Studios, Smithsonian and Curiosity Stream: molecular and cellular structures, organ system animation, oncological visualization, DNA and allele sequencing, fetal development, and surgical procedure illustration. I ran lighting, shading, rendering and final compositing across that body of work, working in Unreal Engine with selective shots in Cinema 4D.

Alongside it, science and natural-history animation for broadcast, including Aliens Inside Us for Smithsonian, on microbial behavior inside the human body, and Mass Extinction: Life at the Brink, for which I earned a 2015 News & Documentary Emmy nomination.

Built in Unreal Engine as a real-time pipeline, which is what makes iteration affordable on this kind of work — lighting, materials and camera can change without a re-render cycle, and the same scene can deliver as film or as a looping web visual. Generative AI sits alongside it for ideation, reference and base assets, while the anatomy, the mechanism and the data stay hand-built.

• Cellular and molecular — DNA and allele sequencing, cell biology, disease mechanism • Anatomy and organ systems — skeletal, GI, cardiovascular, neurological • Mechanism-of-action and medical device visualization • Research and data visualization for web, pitch decks and conference • Natural science and deep time — built from survey and reference data

Source review — I work from your papers, diagrams, data or storyboards, and flag anything that reads ambiguously before it gets drawn.

Concept and reference — generative AI used to explore look and framing quickly, so the direction is settled before the build starts.

Storyboard and style frames — structure and look agreed on stills, with your subject-matter people signing off on accuracy at that stage.

Build — models, environments and systems built in Maya and Cinema 4D, with Houdini where simulation is involved.

Look development and lighting — assembled and lit in Unreal Engine with RTX and Lumen, rendered in real time.

Edit, sound and grade — assembled in Premiere Pro, narration and sound integrated, graded in DaVinci Resolve.

Delivery — final files to your spec, in every aspect ratio and format you need.

I won an Emmy as Animation Director on Ancient Oceans for Curiosity Stream, where prehistoric marine environments were reconstructed from bathymetric survey data, and supervised the visual effects on PBS NOVA's Searching: Our Quest for Meaning, covering star formation, supernovae and red-giant expansion.