Andrew entered the film industry in 1999 as a scenic sculptor and model maker.
As a by-product of integrating early rapid prototyping machines into the art departments on shows such as “AI Artificial Intelligence”, “The Terminal”, “The Time Machine” and “The Last Samurai”, Andrew became familiar with the process of translating sets back and forth between the real and the virtual worlds.
With these skills, he transitioned to art director on a series of Performance Capture films , including “The Polar Express”,” Monster House”, “Beowulf”, “Mars Needs Moms”, “The Adventures of Tintin” and “Avatar”.
Andrew has continued to explore the application of virtual production techniques on CG heavy productions such as “Alice in Wonderland”, “Green Lantern” and “Oz, The Great and Powerful”.
