She is unique in the current visual effects landscape with her vast experience in traditional animation, puppetry, practical effects, and opticals, as well as modern digital techniques. Kathy has made ducks talk, swimmers freestyle through an ocean of sand, turtles dance and post-apocalyptic worlds appear in modern landscapes.

After years of supervising (and sometimes producing) visual effects, Kathy’s most recent film experience has been as visual effects producer for major motion picture studios and filmmakers like Wes Ball and producer, writer, director James Mangold.

Supervisor or Producer, short format or long, commercial or feature . . .
Kathy’s specialty is the same – collaborating closely with multiple departments on set to build a working coalition with a common purpose.

In commercials Kathy has repeatedly worked with the medium’s top directors: 
Bryan Buckley, John Hillcoat, Zack Snyder, Dayton-Faris, Speck and Gordon, and Brian Beletic, among others.

Unlike features, in commercials a supervisor will work with multiple directors -- literally dozens in a year. Some are well versed in visual effects and some are brand new to the medium. That experience taught Kathy to quickly assess and respond to a director’s (and a production’s) requirements. She can design and suggest shots for a filmmaker who needs ideas or she can interpret and enhance a director’s unique vision. Kathy will often rely on her knowledge of practical effects to suggest an unusual solution to on set (or in prep) visual effects challenges.

When production on the award winning XM Radio commercial campaign launch asked why Kathy was being sent alone to cover a mid winter Wall Street shoot with complicated composites and multiple CG assets instead of the usual complement of supervisor, producer, matchmover and data wrangler, ILM, where Kathy was a visual effects supervisor in the commercial department, responded simply.

“Because Kathy is bulletproof.”

For Marvel’s Thor where Kathy was second unit supervisor, she devised and employed a shooting methodology for complicated battle sequences that provided ample reference for creation of CG characters and the maximum amount of live action stunt work possible while remaining nearly invisible to the director. She is capable of working closely with others as well as shooting required elements with a pared down crew. Kathy’s knowledge of narrative and editorial allows her to make quick, economical decisions that serve the story, the visuals and the budget.

As much as she enjoys the planning and pre-vis of VFX sequences, Kathy is well known for thinking on her feet and solving on set problems efficiently. A difficult chase sequence in Captain America called for shooting revisions to protect the comfort and safety of principal talent and Kathy was able to offer solutions and allow shooting to continue. Her strong relationship with VFX vendors affords open communication on evolving techniques and approaches, protecting budgets and schedules.

Kathy’s skills aren’t solely in planning, scheduling and efficiencies. When Alejandro González Iñárritu asked her to “make white whiter” for his 11 minute section of the film September 11, Kathy drew on her background as graphic designer and painter to create a dynamic ending to the director’s visionary imagery.

Television moves quickly. Episodic experience has taught Kathy to always plan for the unexpected. As the sole VFX representative on Stefano Sollima’s New Orleans
Zero Zero Zero episodes Kathy acted independently to secure reference and location plates for future composites so production could move on to the next location before light and weather changed the scenes. “Eyes open and a step ahead” is her on set motto.

As Visual Effects Supervisor on Season Two of Cinemax’s highly regarded series Banshee, Kathy took the lead in designing elaborate action sequences as well as working with editorial to present the finished shots in the most impactful manner.

For Electronic Arts’ 2005 and 2006 E3 displays, Kathy led a team of visual effects facilities, game development teams, and in-house animators to create a full seamless 360º nine HD projector circle theater featuring custom game trailers and motion graphic packaging. She excels in the challenge of unusual formats and projection techniques.

For Kathy the challenge is the joy and the appeal of visual effects.

Trained in the visual arts, music and economics Kathy came to visual effects by chance but finds it offers the exact combination of science, math, and art that excites her creativity. After years of working with directors new to visual effects Kathy has earned her reputation for creative problem solving and skillful project management.

Kathy’s film projects include Ford v Ferrari, Maze Runner: The Death Cure, partner projects for Fox’s Xmen films and Deadpool 2 and both Thor and Captain America for Marvel Studios. Recent commercials include a package for Lincoln with Mathew McConaughey, Justin Lin directed Mountain Dew spots, a cell animated live action combo spot for 7UP, a Ted Melfi coke campaign and a 10 camera occulus style project for Texas Health.

Though much of her career has been in short formats, Kathy got her start as the
Post Coordinator and later Post Supervisor and animation story editor on the Emmy-winning Pee-Wee’s Playhouse.