DG

When 9-1-1 decided to crash a blimp INTO a sporting event instead of just flying over it, the challenge became delivering Hindenburg-level spectacle on network TV timelines.

My role extended far beyond traditional VFX supervision. I was given complete autonomy to pre-visualize the entire sequence, influence schedule decisions, and personally direct the aerial photography crew. The opening sequence of the flying blimp? That was mine to design from scratch.

The technical approach required sophisticated hybrid techniques: practical blimp sections seamlessly blended with full CG extensions, complete CG takeover when physics demanded it, and purely practical pilot close-ups. The real magic was threading green screen elements with on-location photography so invisibly that audiences never questioned what was real.

The real achievement was making every technique - practical, digital, hybrid - serve the story so seamlessly that the VFX became completely invisible. That's the kind of challenge that makes supervising feel less like work and more like orchestrating controlled chaos.