About

I'm a software engineer who has spent most of the last two decades building simulation systems and production tools for film, games, and immersive computing.

My work has lived at the intersection of physics simulation, graphics, and creative production — places where complex engineering quietly supports the work people actually see on screen.

Over the years I've worked at Industrial Light & Magic, Pixar, Epic Games, and Meta Reality Labs, helping build systems for deformable simulation, fluids, character physics, and large-scale production infrastructure. Much of that work has involved translating research ideas into practical tools that artists and technical directors can use in real productions.

The problems that interest me most tend to start with creative ambition. Someone asks “wouldn’t it be cool if...” or points at something new and says “we should be able to do that.” From there the work becomes a collaborative exploration — artists, engineers, and researchers all pushing on the same problem from different directions.

The systems that survive are the ones that stay grounded in that process. Research is incredibly powerful, but when it drives the work on its own it often builds beautiful bridges to nowhere. The techniques that matter are the ones that become part of how artists actually create.

A theme that runs through much of my career is tools for people who make things. I care about building systems that are powerful, understandable, and genuinely enjoyable to use. The only way I know how to do that is to care about the people I’m making them for — and the people I’m building them with.

While my CV reads like I'm an engineer and I'm all about physics based simulation, that's only a partial truth. The reality is that my heart really lies with artists. I am not an engineer for the sake of engineering. I'm an engineer out of necessity, because the things I want to build require it. I have this deep drive where I'm compelled to create things, and they fight their way out of me in whatever form they need to take. I'll learn whatever I need to learn to make that happen. And there's nothing better than finding a like minded bunch of nerds to build things with.

A longer path here

Long before I was writing simulation systems (among a long line of jobs since I was 16) I worked backstage in theater while putting myself through college.

I built sets, hung and focused lights, ran sound boards, and worked crew for productions ranging from musical theater and ballet to symphonies, concerts, and stand-up comedy. I even stage managed once — which was enough to give me deep respect for the people who do it well.

Looking back, those experiences shaped how I think about engineering more than I realized at the time. Theater is a place where many specialists collaborate under pressure to make something ephemeral and beautiful happen on cue. When everything works, the audience never notices the machinery behind it. When things go wrong, and they always will, it's the relationships between the people who make it happen that matters the most. The best crews I've worked with are the ones where everyone cares about each other, values each other, and lifts each other up. Even when they're wrong. Even when they make mistakes. Especially when they need help.

How I like to work

The environments where I've done my best work tend to share a few things:

Technically ambitious problems
Teams that value curiosity and collaboration
A respect for craft and thoughtful engineering

Large software systems are rarely just technical challenges — they're social systems too. Clear thinking, good tools, and a culture of humility make an enormous difference in whether ambitious work succeeds.

Much of my career has involved helping research ideas survive contact with production reality: building architectures, tools, and infrastructure that allow complex techniques to scale to real teams and real deadlines.

Outside of work

Outside of software, I spend a lot of time making things.

Being a dad is the most important thing I've ever done. Much of my free time is spent with my kids, who are a constant reminder that curiosity and creativity are natural human instincts that we should try very hard not to lose.

I also enjoy woodworking, photography, and music — mostly guitar and ukulele. These hobbies are different on the surface, but they share something important with software: they reward patience, attention to detail, and a willingness to iterate toward something better.

If there's a theme that runs through most of my life, it's probably craft. I admire well-made things, whether they're pieces of software, pieces of furniture, photographs, or songs.

What I'm looking for

The places where I've done my best work have usually been environments where engineering and creativity meet — teams building complex systems in service of something meaningful.

I'm especially interested in problems involving simulation, graphics, scientific computing, AI-assisted tools, and infrastructure for people who create things.