25 years making television for The WB Television Network, Kids' WB and The CW Television Network. Now I run on-air and online streaming promo for channels without a department, fix shots in post, and turn technical evidence into animation juries understand.
From 2020 to 2023 I ran The CW Television Network's Graphics Department, which supported the On-Air Broadcast, Outdoor Marketing, and Online Streaming Promotional platforms — fully remote, through the pandemic, without missing a deadline. As Executive Director, I not only produced and directed content for on-air and streaming on nearly every platform. I also directed the Graphics Department's project management and asset tracking across tens of thousands of deliveries. Before that, my Kids' WB and WB promo work won 17 PROMAX and BDA Gold awards. Now I offer that same department to channels that don't have one.
Monthly retainer or flat rate per project, one point of contact, broadcast standards and approvals at every step. Built for FAST channels, streaming services, local stations launching streams, and networks running lean after consolidation.
A monthly retainer for ongoing work, or a flat rate for a single campaign or project, depending on the job. How pricing works
The shot is almost right. I make it right — fast, invisible VFX cleanup and Unreal Engine set extensions from someone who has supervised green screen on set and delivered broadcast to deadline for 30 years. Recent example: 16 shots of 4K, 59.94 fps cleanup for an Andrea Bocelli music video in under two days.
Clean keys on hair, motion blur and uneven screens; spill suppression and background replacement.
Wires, rigs, stands, crew reflections and boom mics painted out and tracked through the shot.
Skin and facial cleanup, glasses glare, lighting fixes, logos and unwanted objects removed frame by frame.
Articulated roto for comps, color isolation and sky replacements, including high-frame-rate 4K footage.
Extend or replace the set with real-time Unreal Engine environments, tracked to the camera move and matched to the plate's lighting.
Plan the hard shots in Unreal before anyone rolls camera: lens, moves, green-screen coverage and set extensions, so post is a finish, not a rescue. You approve every stage before the next begins.
Base day rate, flexible with the scope and the client. Send the footage and I'll quote from the actual shots. How pricing works
Jurors remember what they see. I turn your expert's data into clear, accurate 3D animation — now built in Unreal Engine with broadcast-level polish, and checked against the record at every step. For IP and patent cases, personal injury, product liability, medical malpractice and insurance defense.
For a landmark chip-protection case that ended in a Plaintiff verdict over $25 million: an exploded 3D model of the chip's layers, morphing one company's layout into the other's to show how the defendant reverse engineered the original chip design.
3D reconstruction of a multi-vehicle chain-reaction collision involving a loaded steel tractor-trailer at a highway bridge, built from reconstruction data for the defense.
An animated explanation of how surgical mesh is placed to repair a hernia — anatomy, device and procedure in one clear sequence.
Chip layouts, mechanisms and inventions compared side by side, so a jury sees the similarity your expert describes.
Vehicle, trucking and workplace incidents, animated from your reconstructionist's measurements, speeds and sightlines.
Mechanism of injury, procedures, implants and devices, reviewed with your medical expert so the jury follows the science.
High-resolution frames from the same scene, for mediation briefs, settlement packets and printed exhibits.
Written estimate after I review your case materials. Never contingency. Rush schedules available for trial dates.
From an idea to drawings a shop can build from. Every build starts as a pre-vis you can walk through in 3D and approve before a single panel is cut. I design in 3D, then deliver technical drawings, build specifications and print-ready files — the same precision I bring to evidence, applied to things you can stand on, sit in and sell from.
Convention booths designed in 3D and drawn up for the fabrication shop.
See the booths →Technical drawings for an audio studio installed in the back of a Ford Excursion.
See the build →
An instrument of my own design, 3D printed and refined through two generations of prototypes.
See the prints →
Original Kids' WB set geometry rebuilt as a real-time Unreal environment.
Watch the fly-through →16 shots of 4K, 59.94 fps cleanup — lighting, facial and reflection fixes — in under two days.
Watch the video →Lab sequence, flying shots, monitor comps and wire removal.
Watch the upfront →
Multi-camera, multi-day time-lapse, cut into a network spot.
See it in Xandad's Scrapbook →More reels, 3D prints and personal projects in the Xandad's Scrapbook and on YouTube.
Industry recognition for on-air promotion and broadcast design, 1991–2007 — most of it for Kids' WB and The WB Television Network, in creative direction, design, animation and compositing.
Education: Thomas More College — Brown and Bagby Scholarships, 1984–1988; elected Student Director for the Fall 1988 theatre season.
I've been animating with computers since 1979 and working in Los Angeles television since 1989. I freelanced at The WB Television Network from its first year, animated the original Buffy the Vampire Slayer logo, and spent 25 years there and at The CW Television Network — 10 years as Director of Animation writing, directing and animating the WB Television Network's Saturday morning Kids' WB promos, then 15 years producing iconic promos for the CW Television Network, the last 2 as Executive Director of the Graphics Department, overseeing project management and asset tracking across tens of thousands of deliveries. That work earned 24 PROMAX and BDA awards, 17 of them Gold.
Before television, I was building trial animation: around 1990 I animated chip-layout comparisons for a landmark semiconductor case delivering a $25 Million verdict, a 3D reconstruction of a fatal interstate truck crash, and a surgical-mesh hernia repair. Along the way came digital restoration of Cinderella, Pinocchio and Bambi for Disney, VFX for music videos and content for video games.
These days I work remotely from Santa Clarita, CA. I have a network of very talented friends that I can call upon for projects as well. They are some of the best designers and animators out there. Xandad LLC is a boutique studio with a network-sized résumé: Maya, Unreal Engine, Cinema 4D, Blender, After Effects, DaVinci Resolve and Premiere, plus on-set VFX supervision and design for 3D printing and fabrication.
Project details are kept confidential. I'll reply within one business day.
Helpful to include: what you need, your deadline or trial date, and the best way to reach you. Details stay confidential.