As pipeline support for 2026 theatrical movie at a boutique studio of about 50 artists, I built and maintained a range of internal tools addressing recurring production bottlenecks across IT, artists, and coordinators. These included a GitHub-to-Google-Chat notification system for real-time dev visibility, a self-service license reset utility that cut a 15-minute IT fix down to 30 seconds, a ShotGrid integration driving dailies notifications and plate/delivery workflows, and a threaded PySide6 validation dashboard for catching asset errors before they reached downstream departments. I also fixed export and save-dialog bugs shared across Maya, Nuke, and Houdini, migrated hardcoded artist configs to supervisor-editable YAML, and built a Maya camera aim-lock tool for shot work. Every tool was adopted studio-wide across the ~50-person team, distributed via internal package manager rather than left as one-off scripts.

For Colour Concept, a painting services company, I modernized day-to-day operations by replacing manual, paper-based processes with digital systems for booking, quoting, invoicing, and tax compliance. I gave staff simple tools to manage schedules, quotes, and client updates without needing technical training, streamlined how the business communicated with clients and vendors, and rebuilt the website to attract and convert more leads. I also set up targeted marketing campaigns reaching property managers and local businesses. The result: a traditional trade business now running with the speed and reach of a modern, tech-enabled company.

Provided hands-on pipeline and production support for a test project, ensuring tools, publishes, and render workflows functioned reliably across departments. Focused on debugging, stabilization, and cross-DCC consistency rather than long-term R&D.

I was responsible for designing, testing, and supporting key parts of the technical foundation for Sonic Prime. While I didn’t build the entire pipeline system, I played a major role in implementing the tools and solutions requested by supervisors and artists, ensuring smoother workflows and helping teams deliver their work more efficiently. My focus was on creating a robust multi DCC environment, maintaining consistency across Maya, Houdini, Katana, Nuke, and Substance Painter.