Corporate and studio training
Teams that already know Nuke still leak time on color, versions, and notes that do not match the cut. I run workshops that target the actual bottleneck.
Finishing, not menus
How a shot gets to final: notes, versions, deep, stereo, and the difference between a pretty frame and a sequence that cuts.
Color-managed pipelines
ACES and OCIO for artists who have been told to “just use the show LUT.” What breaks in review, and how to stop it.
Review culture
Giving and taking notes so a room of artists moves in the same direction. Useful for leads as much as juniors.
Film schools and visiting artists
I am a VFX instructor at the New York Film Academy in Almaty, and I graduated with honors from Vancouver Film School (3D Animation and Visual Effects). I work with programs that want production-shaped classes, not a demo reel of buttons.
Multi-week courses
Compositing, look development, and the habits that keep a student shot from collapsing in week six.
Visiting artist / workshops
Short intensives for a cohort: plate photography for VFX, CG integrate, or a show-style review week.
Curriculum consult
Help a program line its VFX track up with how vendors actually staff and review work.
Formats
- One- to three-day studio workshops, on-site or remote.
- Multi-week film-school courses and visiting-artist blocks.
- Remote critique sessions for a team or a class.
Questions
- Do you travel for film schools?
- Yes. I am currently based between shows and a teaching post at NYFA Almaty. Travel for a block of classes is normal; remote terms are also possible.
- Is this software training or craft training?
- Craft first. Nuke is the tool, not the subject. Students and artists leave knowing how a shot is evaluated, not only where a node lives.
- Can you train a whole compositing team?
- Yes — from a focused ACES day to a week that mixes notes, finishing, and pipeline hygiene. Tell me the show pain and I will design around it.