I’m a Visual Effects Supervisor with over two decades of experience across the entire VFX pipeline—from initial script breakdowns, bidding, and scheduling, through on-set data capture, vendor management, and post-production delivery. My background spans feature films, television series, and commercial work, giving me a wide-ranging perspective on the creative and logistical demands of different formats and production models.
Visual effects captured my imagination long before they became my profession. I still remember watching Star Wars: Episode IV for the first time at the age of 13, and how I was drawn to the kind of imagery that could be created for the screen. That movie completely blew my mind and pretty much set me on the path I’m still following today. In the early 2000s—before YouTube tutorials and online training—I spent my nights teaching myself 3D and compositing, using books, software manuals, and a lot of trial and error to build my first demo reel. That dedication paid off in 2001, when I joined the small but growing team at Worldwide FX in Sofia, Bulgaria.
There, under the mentorship of Scott Coulter, I began learning the fundamentals of on-set VFX supervision—gaining practical, hands-on experience with both the technical and collaborative aspects of production. That early foundation shaped my approach to supervision and gave me the tools to grow into larger roles.
Over the years, I moved from supporting positions to leading full VFX efforts on major studio films. I started by supervising smaller sequences, then full projects, and ultimately entire productions involving complex sequences, international locations, and large-scale visual effects teams. My credits include projects with significant vendor collaboration, where coordinating multiple facilities and ensuring a unified visual and technical standard across teams was a critical part of the process. I’m comfortable navigating the demands of both single-facility and multi-vendor shows, including asset sharing, turnover pipelines, and remote team coordination.
In addition to features, I’ve also led visual effects for episodic television and high-end commercials. Each format brings its own unique challenges—whether it’s the compressed timelines of TV, the precision and polish required for commercial spots, or the scale and complexity of feature work. That range has made me adaptable and fast-moving, able to apply core VFX principles in a variety of creative and production contexts.
My approach to supervision is grounded in clarity, precision, and pragmatism. I prioritize simplicity in shot planning, preferring solutions that are robust, repeatable, and achievable within schedule and budget constraints—while still delivering the intended creative impact. I work closely with filmmakers and department heads to design workflows that reduce risk, minimize guesswork, and allow for flexibility during production and post. I believe that strong visual effects come not only from artistic vision, but from thoughtful planning, disciplined execution, and clear communication at every level of the pipeline. That mindset not only helps meet creative goals efficiently, but also fosters trust across departments—ensuring that VFX supports the story rather than overwhelming it. The balance between practicality and creativity is something I’ve developed over years of hands-on experience, and it continues to shape how I work today.