As Head of On Set Services at NantStudios Melbourne — one of the world’s leading virtual production facilities — I work at the point where real-time technology and cinematic storytelling collide. I lead the on-set technical delivery of productions across NantStudios’ state-of-the-art LED volume stages at Docklands Studios, working directly with directors, DOPs, and production teams to make the impossible feel effortless on set.
My credits span some of the most ambitious productions of the last decade: House of the Dragon, Dune: Part One, The Matrix Resurrections, Death on the Nile, and Disney’s Pinocchio — projects that collectively pushed the boundaries of what in-camera visual effects (ICVFX) can achieve. In each case, the work has been the same: bridge the gap between creative vision and technical reality, on schedule, on set, in the moment.
That instinct to bridge worlds has its roots in academia too. I hold a PhD in Computer Science from the University of Huddersfield, specialising in Augmented Reality and accessible design — specifically, building AR applications for children with autism. That research background isn’t a footnote to my production career; it informs how I think about technology at its core: not as an end in itself, but as a tool shaped around the people who use it.
Over the past decade, I’ve had the privilege of working across some of the most technically complex virtual production stages in the world, and today I’m based in Melbourne at the heart of Asia-Pacific’s rapidly expanding VP industry. I bring to every project not just technical fluency across the full VP toolset — from virtual scouting and motion capture to LED ICVFX and mixed reality workflows — but the kind of calm, collaborative authority that complex, high-pressure sets demand.
Beyond the stage, I’m a recognised voice in the global VP conversation. I’ve spoken at TEDx, presented at the Cannes Marché du Film, delivered industry training for ScreenSkills, and lectured at universities including Huddersfield, De Montfort, and Teesside. I’m passionate about demystifying virtual production for directors and producers encountering it for the first time, and about ensuring the next generation of practitioners enters the industry equipped for the work ahead.