Click above for my cinematography reel, and explore the site for my portfolio in VFX, animation, and digital art. I hold an MFA in Film Production from USC, and a second MFA from the UCLA Animation Workshop. I am seeking opportunities in cinematography, pre-visualization, and animation layout; for inquiries, refer to the contact information in the top right, where my resume is also available.
Important Note: My residence, workshop, and equipment were unfortunately lost in the Eaton Fire in Los Angeles. Consequently, I am currently only able to accept production roles with rental provisions.
PREVISUALIZATION & VFX
VISUAL EFFECTS
This visual breakdown presents six shots from the feature film Didn’t Die (2025), which recently premiered at the 2025 Sundance Film Festival. In addition to my role as the Director of Photography, I also served as the VFX Supervisor and Artist. These showcased examples illustrate set extensions achieved through 3D layout and asset creation utilizing Blender, followed by compositing in After Effects.
PRE-VISUALIZATION
This minute-long reel presents two examples of my cinematic pre-visualization. The first is a plane crash sequence excerpted from the Netflix dramatic series “Keep Breathing” (2022), followed by a commercial for the 2023 Toyota Highlander. I collaborated with the filmmakers, serving as the visualization artist/supervisor under my business, Gloses Visualization.
PRODUCTIONS
Live-Action Cinematography
Below is a compilation of films I've shot in recent years, encompassing a range of cinematic productions, including feature films, shorts, music videos, and commercials. In each instance, I assumed the role of Director of Photography, collaborating with various directors and production companies. As a department head, I typically oversaw a crew of six individuals, while simultaneously assuming the responsibility of Camera Operator.
NARRATIVE & EXPERIMENTAL ANIMATION
In March 2020, I earned an MFA from the Animation Workshop at UCLA, where I developed skills in CG character animation and camera layout. In addition to this knowledge, I acquired expertise in character design and soft/hard surface 3D modeling. This extended to the physical studio, where I also became proficient in 3D printing, armature manufacturing, and clay modeling. This all culminated in my animated short film, Mark Anthony’s (2019), which was a hybrid digital and physical animated production. Notably, my work on this film was recognized with the “Most Innovative Award” by the faculty and peers at the Workshop.
King Louisville
Mark Anthony’s
Massacre on the Hudson
Tenori -ON-
Live-Action Pre-Viz
September Morning
narrative feature
In addition to my role as Director of Photography, September Morning presented me with one of my earliest opportunities to fully embrace pre-visualization as a production tool. Collaborating with Director Ryan Frost, we meticulously designed the film’s shot structure using Blender. This approach proved instrumental throughout the production, particularly in crafting a seamless visual progression for camera movement.
Beyond the narrative benefits, the ability to design lighting using IES lighting data enabled precise control over the film’s visual appearance. Achieving a natural and aesthetically pleasing “overhead fluorescent” look was a formidable challenge, as was constructing a visual progression within such confined spaces. Pre-visualization allowed us to meticulously control gag lighting and subtly adjust ratios and color temperatures.
To evoke an “early 2000s” aesthetic, we utilized Panavision’s Genesis camera. Despite its size and weight, the camera posed a constraint to our compact set, even with the potential to swing away walls. However, our work in the computer allowed us to think pragmatically within the available space and more deliberately align our camera movement with the film’s theme.
narrative short
The Press Conference
As a single Steadicam shot, the film presented numerous technical challenges. Following extensive scouting and rehearsal, Director Meera Menon and I utilized Blender to block the camera movement. The expansive location and the 360-degree view throughout the sequence further complicated the production. Pre-visualization crucially optimized our the lighting placement. The film was captured on an Arri ALEXA Mini camera, utilizing a 40mm anamorphic Kowa lens.
ARTWORK
