I first ventured into motion graphics in 2005 with Ulead GIF Animator 5. After learning new editing and design techniques, I began using Sony Vegas 7, later graduating to the Adobe Creative Suite and Maxon Cinema 4D.
I encourage you to view my signature project as well.
2019 MOTION DESIGN REEL
"MyScene TV" Season 9 Motion Design Reel
Graphics package for the 2017 season of “MyScene TV,” making heavy use of cityscapes while acknowledging the international branches of the show.
"MyScene TV" Season 11 Motion Design Reel
Updated graphics package for the 2019 season of “MyScene TV,” drawing inspiration from all previous seasons.
"Dancing for Big Buddy" Reel
Graphics for the yearly fundraiser at LSU’s Pete Maravich Assembly Center in Baton Rouge, inspired by “Dancing with the Stars” and season 27 of “Jeopardy!”.
"BRCC Today" Reel
Graphics and production from my days at Baton Rouge Community College, based on the school colors and the signage across the campuses. The primary element of this design is the college slogan, “Imagine what you can do.”
"Big Brother 22: All-Stars"
A fan intro made out of sheer boredom.
A blend of all of the titles in the show’s history, this was the final of a years-long series of BB intros and theme song covers.
"This Is Houston" Title Design Reel
The logo for the web series is based on a previous design from a design from 2015 TV pilot, utilizing the Futura typeface due to its resemblance to the Houston skyline.
Pre-production began in late 2017 while the “Stranger Things” title was all the rage; the design house Imaginary Forces gave the world a digital re-creation of the classic Kodalith technique—light shining through a specialized film as seen in late 20th-Century motion design. But I wanted to go old-school, jury rigging office transparencies and colored printouts to give the imperfect look I needed.
I would revive this concept for season 11 of “MyScene TV.”
In January 2014, I was scouted by “MyScene TV” to design a virtual set to ring in the second half of the sixth season. That would lead to me creating three more—each one more functional, interactive and physically accurate than the last. Heavy on photorealism, my virtual sets are often mistaken as real due to the modeling of real life materials, camera placement and looping, as well is my ability to properly light, key and color talent to match the contrast and mood of the backdrop. Some of these sets came with a litany of cutaway shots to add production value.
"MSTv Studios," 2014
My original design for “MyScene TV” based on the previously-used stock loop. This package, two options offered to my then client, relied on acrylic tiles, accent lights and oversized displays calling back to ‘90s MTV, on which the show was based.
"JAVAN H. Studio 7," 2014
Calling it “the most customizable virtual set in the state of Louisiana,” this was created as a stock design for my many anticipated projects, seeing the light of day for seasons seven and eight of “MyScene TV.”
Revised in 2016, this design was the first to incorporate the international branches of “MyScene TV” through the backlit signs on the brick wall, while offering dozens of angles and cutaway shots.
"MSTv Studios," 2016
Inspired by an Instagram post, my third virtual set was created as host of “MyScene TV,” using a wire mesh figure scaled to my actual height to place cameras and other design elements.
This set featured video walls heavily crafted to mimic LED tiles, in addition to displays modeled after my own Insignia TV. The dimensions of the 25’ x 50’ soundstage are modeled after a conference room I filmed in prior to my move to Houston.
"MSTv Studios," 2019
My final design to the program is a callback to their original stock set, incorporating elements that people have come to expect from my sets. Far more muted than my previous work, this set relied more on monitors, graphics and infrastructure than on architecture, making this set much harder to design; closer inspection will show you wires strung from installations and slight pixellation from the LED walls.
My most advanced virtual set to date, I would go on to install lighting in my film space to match it, ensuring an accurate and believable key. Below are stills of the design process.