Founder · Reimagine FX
3D Motion & FX Artist · Creative Technologist · AI Systems Builder
I've spent more than eight years in production. Compositing, 3D, simulation in Houdini, motion design for brands. Somewhere in there I started writing the tools I kept wishing someone else would write.
That habit turned into Reimagine FX in 2018. It has since released seven Maya plugins and a Nuke diagnostic suite, plus three iOS apps for viewing 3D on a phone (two of them stream live scenes from Maya and Blender). Artists in 79 countries have downloaded the tools.
Most of that software now gets built with AI in the loop. I run coding agents from a command center I wrote myself, and I've connected them to Maya, Houdini, Cinema 4D and Premiere Pro through typed, reviewable tools. I still make the calls. The agents do a lot of the typing.
When the pipeline is the bottleneck, I fix the pipeline.
Timeline
Scroll to move the playhead. Every clip is a chapter; click one to jump straight to it. Every chapter so far, from the first camera to the current R&D.
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It started with games. I wanted to build the worlds I was playing in, and the first step turned out to be learning how to see.
My first paid design work: campaign visuals, promo graphics and early motion pieces for ad clients. Fast turnarounds in flat 2D, which turned out to be a crash course in typography and layout.
Back then a junior did everything, and I'm glad I did. Keying, roto, 2D, planar and 3D tracking, compositing, matte paintings, camera projections and stereo conversion, mostly in Nuke, for commercial and broadcast work.
Then I went properly into 3D: modeling, PBR texturing in Substance 3D Painter, shading, lighting and a lot of look development. I handled layout and matchmove too, solving cameras in 3DEqualizer so the CG sat right in the plate.
I started Reimagine FX next to the day job and kept building it through every role that followed. It became my full-time work in 2024.
Then simulation took over. I started on FumeFX, TurbulenceFD, Maya Fluids and Bifrost, moved to Houdini and stayed: pyro for smoke, fire and explosions, Axiom, FLIP fluids, RBD destruction, particles, Vellum cloth, VDBs. I lit, rendered and comped my own sims, which is how I learned that a sim is only done when the shot is.
Almost four years of 3D motion for brands: product ads, title sequences, kinetic type, and the look development that makes a campaign feel like one piece. I led productions from concept and blockout to final delivery, built Arnold lighting rigs that kept multi-shot campaigns consistent, and mentored more than 200 junior artists and students.
I started putting my workflows on YouTube and never stopped. The channel passed 20,000 subscribers and 1.9 million views, and people have watched it for more than 70,000 hours. My four Cinema 4D courses on Skillshare have more than 500 students, and a few tutorials got featured on Lesterbanks.
Full-time on Reimagine FX, and the work changed shape. I design and direct software now, with AI agents doing much of the implementation: Maya and Nuke plugins, iOS apps in Swift, MCP servers that let agents operate Maya, Houdini, Cinema 4D and Premiere Pro, and RFX Manager, the command center that coordinates all of it.
Something bigger than a plugin. A native GPU compute framework: CUDA kernels, operator graphs, out-of-process workers, deterministic checkpoints. That's all I'm saying until it ships.
AI Lab
Everything here is in real use at Reimagine FX. One rule runs through all of it: agents get typed tools with guardrails, and nothing goes out without permission I've given explicitly.
A local-first desktop command center I built in TypeScript, React and Electron. It coordinates more than 500 product and skill workspaces and a library of 200+ AI skills. Codex, Claude Code, Cursor and Antigravity check in there, claim bounded tasks, log evidence and hand work to each other.
Push-to-talk voice inside RFX Manager. Whisper.cpp handles speech, Qwen3 runs through Ollama, and the reply is spoken back by a local TTS model. Nothing goes to the cloud and there's no API bill. Ask for the morning briefing and it reads it from live project records.
Model Context Protocol servers that let an AI agent work inside Maya, Houdini 21, Cinema 4D 2026 with Redshift, and Premiere Pro. The Cinema 4D server alone has 90 typed tools and 115 tests. Scene edits are planned first and applied only on confirmation, with undo and rollback. In Maya, Houdini and Cinema 4D, arbitrary code execution is switched off on purpose.
Runs unattended every morning at 09:00 and acts on its own within written rules. It works through a map of roughly 90 sources and search queries over the week, including sites that need a logged-in browser. Records are de-duplicated by canonical URL, scored on a strict 1–10 rubric and written to a tracker, a daily brief and a Notion mirror. Incoming email gets sorted into status updates. It never guesses a fact it can't verify.
Chipset Generator builds PCB-style texture maps from real netlists and multi-layer routing, so the traces read like actual electronics. It exports up to 8K, normal maps included. Procedural Maps turns out grayscale maps from 1K to 8K.
Three iOS apps in Swift, using SceneKit, RealityKit and ARKit, plus seven Maya plugins and a Nuke suite that went through 100+ diagnostic test cases before release. Area Light Maps Pro ships with a per-file SHA-256 integrity manifest.
Agents call validated tools with typed inputs. They don't get a raw Python prompt inside a live scene.
Outbound actions need permission I've given on purpose, either per action or as a written standing rule with limits. A stored login never counts as permission.
A task closes on tests, audits or a live check. A model saying it's finished doesn't count.
Speech, models and project data stay on my machine wherever possible. Maya Viewer streams over the local network with no cloud upload and no account.
Studied with NVIDIA's Deep Learning Institute: OpenUSD fundamentals and stage composition, generative AI and agentic AI.
In development
Parts of this file are redacted on purpose.
A native GPU compute framework, written from scratch.
CUDA kernels and operator graphs.
Out-of-process workers with deterministic checkpoints and branchable A/B states.
It's the largest thing Reimagine FX has taken on. More when it ships.
Software
Gold dots mark the programs I open most days.
33 tools
Education B.A. Visual Effects & 3D Animation, 2026 · B.Sc. Animation & Multimedia, 2021
Teaching
Tutorials featured on Lesterbanks.
I take on freelance 3D and FX work, and I build custom tools and AI workflows for studios. Either way, it starts with an email.