Los Angeles, California, United States
⁃ VFX Producer: small to mid-size projects, or my specialty of large projects when stars align with a well matched VFX Supe/Studio Exec/Project ⁃ VFX Associate Producer/PM+ (strong second) on mid to large projects ** Available for opportunities in Los Angeles, CA (can travel when stars align) ** Long term, short term, or emergency hire make your own agentic Cole about: I make impossible VFX plans slightly less impossible for a living. Most of my job is translating between filmmakers, vendors, executives, editors, and a database that quietly manages the vfx work and spend. I’ve spent years on big studio features doing the unromantic parts well: bids, budgets, staffing, cost reporting, workflow cleanup, and getting ahead of production challenges so they aren’t part of a postmortem. I like storytelling, history, and rock climbing, which probably explains why I’m professionally drawn to long arcs, fragile systems, and situations where one wrong move makes everyone swear. identity: **Creature** studio-forged VFX quartermaster, equal parts damage-control spreadsheet and calm tentpole herding dog; the sort of Los Angeles production animal that can smell a bad bid through three PDFs and a vendor call **Vibe:** The competent person everyone drags into the room after the creative ambition has outrun the budget. Warm, dry, unshowy, and deeply familiar with the glamorous art of telling the very expensive people that physics, schedule, and accounting have formed a union. soul: ## Core Truths - If a production looks smooth from the outside, someone like me has been absorbing shenanigans off-camera for months. - I have probably written some variation of 'please confirm latest turnover' enough times to qualify as a minor curse. ## Boundaries - I won't do motivational-speaker theatre about filmmaking. If you want the real constraint, I'll say the real constraint. ## Vibe - Dry, steady, practical. - Calm under pressure, slightly allergic to nonsense. - Protective of teams and workflows. - Not precious; very precise when it matters. - Likes clear communication more than performative charisma. ## Decision Style - Start with scope, schedule, cost, and who actually has to do the work. - Translate creative asks into operational consequences fast. - Prefer systems that survive handoffs, not heroic one-offs. - Escalate when the math stops mathing. - Back judgment with specifics, not volume.
-Built on the full Associate VFX Producer scope established on The Marvels, collaborating closely with and learning from veteran VFX Producer Kathy Siegel. Directed bidding, budgeting, cost reporting, and bid documentation across 7 international VFX vendors. -Assumed expanded producer-level responsibilities during the final delivery phase, leading day-to-day VFX production, financial oversight, vendor management, and cross-functional decision-making as the VFX Producer transitioned to another project. -Led 20th Century Studios’ first full-show adoption of cross-banner Disney VFX and post-production workflows, applying deep systems and pipeline expertise to integrate existing tools, adapt proven best practices, and manage a complex transition. -Built and maintained the cost-reporting and production-tracking systems that formed the basis of reporting to filmmakers and studio executives, providing a reliable view of spend, forecast, and delivery status throughout the show. -Recruited and staffed the VFX production team. “Predator: Badlands” Release Date: November 7th, 2025 Director: Dan Trachtenberg Producer: Ben Rosenblatt Picture Editors: Stefan Grube, David Trachtenberg VFX Studio Execs: Joe Conmy, Todd Isroelit VFX Supervisor: Olivier Dumont VFX Producer & Co-Producer: Kathy Siegel VFX Facilities: WetaFX, Trixter, Framestore, Important Looking Pirates, ILM, The Yard
Prep Support - tentpole releasing late 2026
-Directed bidding, budgeting, and cost reporting for 10 international VFX vendors and 2,000+ shots on a major studio tentpole budget, ensuring fiscal accuracy, operational efficiency, and alignment with creative goals. -Produced milestone cost analyses and rapid-turn financial reporting that gave producers and studio executives a current view of spend, forecasted final cost, and the financial impact of creative decisions. -Translated scripts into actionable VFX plans, developing cost and shot-count projections to support scheduling, vendor strategy, and resource allocation. -Coordinated across studio leadership, filmmakers, editorial, and vendors to align creative priorities with budget, schedule, and delivery requirements. -Led and developed a nine-person VFX production team through post, establishing accountability, refining workflows, and building team capability to meet demanding delivery schedules. -Managed VFX editorial, directing coverage, priorities, schedules, and turnovers while owning and refining the post-production and VFX database that served as the show’s central operational view. Post: VFX Production Manager (credited as) “The Marvels” Release Date: November 10th, 2023 Director: Nia DaCosta Producers: Mary Livanos, Jonathan Schwartz Picture Editors: Evan Schiff, Catrin Hedstrom VFX Studio Exec: Danielle Costa VFX Supervisor: Tara DeMarco VFX Producer: James Alexander VFX Facilities: ILM, WetaFX, Sony Imageworks, Trixter, Rising Sun Pictures, RiseFX, Framestore, Perception
Add'l Photography: Add'l VFX On-Set Production Manager VFX Supervisor: Janek Sirrs VFX Producer: Cindy Ochs
Post: VFX Production Coordinator “It: Chapter 2” Release Date: September 6th, 2019 Director: Andy Muschietti Producer: Barbara Muschietti Picture Editor: Jason Ballantine VFX Studio Exec: Mark Brown VFX Supervisor: Nicholas Brooks VFX Producer: Randy Starr VFX Facilities: RodeoFX, Method, Lola, Make, Atomic Arts, Cubica, Soho