Primary reel
Layout Supervisor Reel
Temporary main reel assembled from current source clips. Replace the clearly named reel file in `assets/videos` later to update both the hero and this reel section.
Layout Supervisor / Layout Artist / Previs
Expanded Category
Placeholder category content.
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.
Show the work
Use this area for the current reel, layout pass videos, previs edits, camera breakdowns, and before/after production clips.
Primary reel
Temporary main reel assembled from current source clips. Replace the clearly named reel file in `assets/videos` later to update both the hero and this reel section.
Action geography, camera intent, editorial rhythm, and staging clarity.
Maya camera rigs, shake, stereo controls, steadicam behavior, and production-ready handoff.
Deadline-aware supervision that protects quality, artists, and the director's intent.
Streaming-style filmography
Poster rows are built from editable project data. Missing art uses branded placeholder cards that can be replaced later.
Selected production history
Feature animation layout supervision for a large-scale adventure with stylized action, camera, and performance staging.
Layout SupervisorAnimated feature layout supervision focused on clear geography, comedic staging, and production handoff.
Layout SupervisorFeature layout supervision across animated musical comedy sequences and character-driven camera work.
Layout SupervisorFeature layout supervision supporting action, comedy, editorial clarity, and cinematic animation blocking.
Layout SupervisorLayout and stereo supervision on a highly stylized feature with theatrical camera language and bold composition.
Layout Supervisor / Stereo SupervisorFeature, TV series, and specials including Boy Genius, Attack of the Twonkies, and Win Lose and Kaboom.
Layout Supervisor / Layout Artist / AnimatorProduction archive
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.
Experience
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
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.
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.
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.
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
Approach
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