Layout Supervisor / Layout Artist / Previs

I build clear, director-friendly camera language for complex sequences: blocking, lensing, geography, timing, action continuity, and the practical handoff that lets teams move faster.

20+Years layout, previs, animation
3Supervisory studio roles
50+Film, series, ride, commercial credits

Streaming-style filmography

Credits by project type

Poster rows are built from editable project data. Missing art uses branded placeholder cards that can be replaced later.

Selected production history

Credits that speak to layout jobs

Feature

Back to the Outback

Animated feature layout supervision focused on clear geography, comedic staging, and production handoff.

Layout Supervisor
Feature

UglyDolls

Feature layout supervision across animated musical comedy sequences and character-driven camera work.

Layout Supervisor
Feature

Scoob!

Feature layout supervision supporting action, comedy, editorial clarity, and cinematic animation blocking.

Layout Supervisor
Feature

The Book of Life

Layout and stereo supervision on a highly stylized feature with theatrical camera language and bold composition.

Layout Supervisor / Stereo Supervisor
Feature / TV

Jimmy Neutron

Feature, TV series, and specials including Boy Genius, Attack of the Twonkies, and Win Lose and Kaboom.

Layout Supervisor / Layout Artist / Animator

Production archive

Crew rooms, launches, and old war stories.

Older crew and job photos add texture to the portfolio: the studios, teams, events, and production spaces behind the credits. Add more images to the `OldPhotos` folder later and this section can keep growing.

Animation production crew photo
Studio crew archive
DNA Productions crew photo
DNA-era crew photo
Free Birds event photo
Project event archive
Old layout production workstation
Layout desk and production wall

Experience

Production leadership with layout instincts.

Vision-driven and results-oriented leader with 16+ years managing high-performance teams, complex production pipelines, and multimillion-dollar projects from concept to delivery. Adept at scheduling, cross-functional collaboration, process optimization, and translating creative goals into executable plans.

Portfolio URL for resume and QR use: joej3d.com

2008 - Present

Reel FX Creative Studio

Layout Supervisor / Cinematographer. Directed production planning and execution across major animated features, supervised 20+ person teams under strict deadlines, and served as liaison between directors, producers, and technical teams.

Contributed strategic pipeline insight with TDs, improved tracking and data flow, supported artist growth and morale, and helped develop remote workflow between Dallas and Montreal studios.

2007 - 2008

Element X Creative

Layout Supervisor / Cinematographer. Delivered a full-length animated feature and multiple commercial projects under accelerated timelines and small budgets with milestone tracking and creative leadership.

2000 - 2007

DNA Productions

Layout Supervisor / Layout Artist / Coordinator. Managed layout for three seasons of The Adventures of Jimmy Neutron and supported feature work on The Ant Bully and Jimmy Neutron: Boy Genius.

2013

Construction and Contracting

Designer / General Contractor. Designed and built a personal residence from the ground up, managing architecture, permitting, budgeting, subcontractors, inspections, material deliveries, and change orders.

Pipeline fluency

Tools and strengths

Tools

Maya Houdini 3ds Max Nuke After Effects Photoshop Premiere Excel Google Suite Confluence

Strengths

Camera Layout Camera Language Planning Previs Animation Matchmove Scheduling Show Bidding Pipeline Development Team Leadership Budget Management

Approach

Layout is where story, camera, and production reality meet.

I started with drawing, painting, sculpture, architecture, film, and engineering, then found the lane where those instincts all mattered at once. Layout became the place where I could solve story problems visually, stage action clearly, and help directors and artists understand the shot before it gets expensive.

I like the hard sequences: the ones with complicated geography, fast notes, technical constraints, and a real need for taste. The goal is always simple: make the shot read, make the sequence cut, and make the team confident about what comes next.

Available for layout roles

Let's talk sequence, camera, and story.