After some early academic dabbling in music and computer programming, Kevin hit his stride at Cal Arts where he earned a degree in graphics and effects animation. In the late 1970’s, as one of the first motion control programmer/operators, Kevin worked at groundbreaking facilities like Gehring Aviation, Precision Image and Lumeni Productions.

By the mid 1980’s, Kevin had moved into CG production. At The Post Group, having mastered the Mirage, he programmed and operated real-time 3D CG effects. He was also responsible for the motion control and blue screen insert stage, where he programmed, photographed and supervised hundreds of projects. When The Post Group formed a partnership with Pacific Title to create the Gemini process (a digital video to film transfer process), Kevin became the technical liaison between the two facilities, and supervised all production on the system.

Recognizing Kevin’s broad experience, The Post Group frequently asked him to “consult” with clients on all manner of projects –industrials, commercials, television shows and features. Eventually this became a full-time supervising job –until a client lured Kevin away from The Post Group to work on a TV series (seems like you should name it). He has been freelance ever since.

In the early 1990’s, Kevin began to focus almost exclusively on digital technologies, dividing his time between commercials and “just about anything else” --from three-camera blue screens for live sitcoms, to film resolution digital composites for teaser and trailers. For Bob Hope’s ninetieth birthday special, Kevin combined two plates photographed more than fifty years apart –and a present-day Lucy Arnaz sang a duet with a boyish Hope. The culmination of this period was an association with Propaganda Films and producer Ceän Chaffin, which led to his work on two of the most highly acclaimed (and expensive) music videos: Mark Romanek’s “Bedtime Stories” for Madonna, and “Scream” for Michael and Janet Jackson.

Since the mid-1990’s, Kevin has been primarily involved in feature film projects. He has supervised the effects for three films by David Fincher: THE GAME (1996), FIGHT CLUB (1998) and PANIC ROOM (2001). Tarsem’s dazzling visual style for THE CELL (2001) led to so much VFX production supervision that Kevin eventually joined the DGA as a 2nd Unit director.

Kevin is currently involved in several feature productions scheduled for release in 2003 and 2004.