GODZILLA VS. KONG

As Creative Director of Twisted Media, I continued developing the Monarch technology language first introduced in King of the Monsters, adapting it for a wide range of new environments. The focus shifted from massive Monarch bases to military command centers, battleships, aircraft, and field equipment—computers, phones, and tactical systems that needed to feel authentic while serving the story. In addition to on-set graphics, I also contributed to post-production VFX, delivering screen content and enhancements that expanded the visual world beyond what was captured in camera.

While the scale of live playback was smaller than the previous film, we still designed and implemented interactive graphics for command bases and ship interiors. These systems were run live and in-camera, giving actors working tech to interact with and grounding the action in believable, functional displays.

The production spanned multiple locations and workflows, requiring adaptability at every stage. I was on set in Hawaii during the early remote-location shoots to ensure playback was fully integrated into practical environments. When production later moved to Australia and New Zealand, I transitioned to working remotely from the U.S., continuing design, delivery, and post-production support across time zones. Coordinating graphics for both live playback and VFX under these conditions demanded constant communication and technical precision.