On this highly-themed thrill coaster, I was responsible for the triggering and overall timing of all show elements. I also designed the animated lighting in all of the show and queue scenes. I pre-visualized several scenes and created the actual animation data for some scenes, including the on-board train lighting, using After Effects.

​

Early in the project, I also designed some illusions and scene FX that did not make it into the final attraction.

More details to come...

For this "story coaster", I was responsible for pre-visualization animation of the ride in early development and all of the show element timing during installation. I also created the animation for the Devil's Snare effects.

​

Near the end of the queue, I created the choreography, animation, and special effects for the magic ceiling scene near the end of the queue.

On this omni-mover-style dark ride, I was responsible for designing a rotation profile for the individual vehicles. This was done in coordination with the Creative Director to ensure that sightlines and "reveals" were properly timed with the scene actions and as smooth as possible.

​

I also designed a 3D flight pattern for an animated figure suspended from show action equipment. This pattern was created to match the figure's dialogue and eyelines. 

​

On this indoor dark ride coaster, I was part of the blue sky and creative team, responsible for show writing and show element placement. 

​

I also installed the ride in the field, with my focus being lighting and show control.

For this attraction, my main responsibility was writing custom scripts that converted the 3D animation of the 8 vehicles into special data formats that were used by the game and ride control systems.

More details to come...

I was the Show Control and FX Crew Chief for this show from the end of construction in 2004, during opening, and for the first 2 years of operation. My responsibilities covered show control, all mechanical FX, pyrotechnics, flame systems, lighting, and stage automation.

​

As part of a team of 3 programmers, I designed interfaces and programmed the AMX system. We added a feature to AMX not included in the Paris version of the show where music segments were pre-timed and enabled at key points in the action. This allowed the soundtrack to have variable lengths with no obvious cuts.​

I opened this show in 1998 and was the Show Control Crew Chief for it from 1999 to 2000 and 2002 to 2004. My responsibilities covered show control, mechanical FX, stage lifts, and a really big dragon.

​

As part of a team of 3 programmers in 2003, I designed new user interfaces and programmed the new Medialon, Wonderware, and AMX systems as part of a major upgrade.

I also designed the fountain choreography for a short presentation that was played when shows were cancelled for weather.

For this KUKA-arm-based dark ride, I created a 3D simulation of the ride in Unity that incorporated all of the propulsion timing, embedded media, and special effects.

​

Later in the project, I designed the motion profile of the robot arm and devised a system for outputting the position data over time to the ride control system.

This trackless, motion-base dark ride had an A and B profile, which I incorporated into a Unity-based 3D simulation. Using the simulated sightlines, I was able to prove proper timing of the ride vehicle and the resets of the media screens. This resulted in a major change to the finale, which required redesigns of the show sets before construction started.

​

I also created the first draft of the motion base profile.

This 3D movie was a collaboration between Cirque du Soleil, Director Andrew Adamson, and Producer James Cameron. The story took place in the environments of 5 of the Las Vegas Cirque du Soleil productions.

​

For this movie, I programmed and operated the aerialist automation for the scenes filmed at The Beatles LOVE.

For 3 years, I was the main automation board op and programmer for the aerialist elements of the show. At the time, this was the busiest board op position on a Las Vegas show. 

​

The 3 automation operators on LOVE has a shared 289 cues for 122 automation axes, which equals about 1 cue every 20 seconds for and hour and a half.

For the Now You See Me land in this park, I wrote and designed a magic-based walk-through attraction, a dinner experience, and a lounge area. Writing samples available upon request.

​

For the Twilight land, I designed the original track and scene layout for the dark ride, including media and special effects timing.

For this event, I was tasked with designing new and unique ride systems for inclusion in the park.