Laying the Foundation for EdTech
This was a pivotal chapter in my career—a transition from broadcast-quality video systems into interactive, technology-driven education and research.
I worked hands-on with clients to design AV systems, deliver technical training, and integrate synchronized video, audio, and user input into professional learning environments. My focus on advanced instructional tools and system-level thinking laid the foundation for what we now call EdTech.
This period also marked a deeper evolution: from AV integration to interactive media, scientific visualization, and research collaboration—culminating in my early work with Georgia Tech and its pioneering initiatives in education technology.
The Transition Begins: From Broadcast to Learning Systems
PVS, Ltd. – Video Graphics Division Sales Manager - Nashville, TN, 1987–1989
I was hired to lead the Video Graphics Division of Pro Video Systems, building our client base from scratch. I worked with organizations such as Vanderbilt University, Heil Systems Training Center, the Tennessee National Guard, Fort Campbell, and Oak Ridge National Laboratory, helping them implement video systems for research, training, and education.
During a time when high-resolution CRT projectors and RGB graphics monitors were revolutionizing classrooms and simulators, I introduced many of these clients to LaserDisc-based interactive learning.
By late 1989, the Birmingham-based parent company was facing financial hardship. I had become aware that my sales of LaserDisc and training systems were among the only profitable areas. That uncertainty pushed me to seek a new role where I could apply my strengths in more targeted educational technology markets.
Multimedia Specialist | Atlanta, GA | 1990 –1992
I was hired by Technical Industries in Atlanta to lead their push into the Education vertical market. My role focused on proposing, configuring, and delivering advanced AV-based training systems for K–12 and higher education.
One of my most significant early engagements was with Georgia Tech’s College of Computing, where I worked closely with faculty and engineers to deliver interactive video systems built around touch-screen control, synchronized audio, and custom hardware integration.
I often served as both consultant and technical translator — guiding clients through complex system decisions that required manufacturer input. Few others on the sales team wanted to handle that level of depth, but I found it fascinating.
"Jack was our most successful account executives to date in that field." — H.L. “Sonny” Davis, Executive Vice President, Technical Industries
Multimedia Collaboration at Georgia Tech (1992–1996)
Olympics Presentation Project (1990–1992)
Scientific Visualization, SIGGRAPH, and 3D Media (1992–1996)
Scientific Visualization, SIGGRAPH, and 3D Media (1992–1996)
In 1990, I was contacted by Dr. Mike Sinclair at Georgia Tech Research Institute (GTRI). His team was designing an interactive presentation system to support Atlanta’s bid for the 1996 Summer Olympics.
We designed a three-screen LaserDisc playback system using synchronized aerial video, computer-generated graphics, and dynamic overlays. These were driven by a custom control interface and presented on high-resolution projectors to Olympic committee representatives.
My role included research, AV integration, synchronization calibration, and client-facing system training — a foundational experience in interactive presentation design at scale.
Scientific Visualization, SIGGRAPH, and 3D Media (1992–1996)
Scientific Visualization, SIGGRAPH, and 3D Media (1992–1996)
Scientific Visualization, SIGGRAPH, and 3D Media (1992–1996)
From 1992 to 1996, I worked on-site with research labs in the College of Computing and the Graphics, Visualization, and Usability Center. I supported dynamic 3D modeling and animation for scientific communication, using SGI UNIX systems and Wavefront software.
I composed and engineered audio for two accepted submissions to the SIGGRAPH Electronic Theatre — Deus Ex Machina (1993) and Atlanta in Motion (1996). Both were rare academic entries in a space dominated by professional studios.
These projects demanded foley work, soundtrack composition, system integration, and tight deadline execution. They challenged me to master new tools and workflows — experiences that became instrumental in my evolution from integrator to creative contributor.
Applied Innovation: Georgia Tech Research Labs (1990–1996)
1992 Olympics Bid Project
Scientific Visualization Animation Image Capture System
In partnership with Dr. Mike Sinclair at Georgia Tech Research Institute (GTRI), I supported the design and demonstration of a synchronized 3-screen video presentation system used in Tokyo for Atlanta’s 1996 Olympic bid.
I co-engineered the video integration, hardware calibration, and on-site execution — delivering a polished, interactive demonstration for Olympic Committee stakeholders.
Scientific Visualization Animation Image Capture System
Scientific Visualization Animation Image Capture System
Pictured with Dr. Ray Haliblian, Dr. Evelyn Hirata, and team — configuring custom video capture hardware to support scientific animation and modeling workflows.
Dynamic Motion Simulation – “Deus Ex Machina” (1993)
The first animation I worked on, Deus Ex Machina, was selected for screening in the 1993 SIGGRAPH Electronic Theater in Anaheim, California — one of the most prestigious venues for computer animation at the time.
The piece was presented in Lucasfilm’s THX-certified theater, using Betacam Digital playback for both video and audio. I composed the digital music and produced the synchronized soundtrack, including foley and effects.
Sound Design for Scientific Films
During my time supporting the GVU Center at Georgia Tech, I contributed to early research in interactive motion graphics, real-time rendering, and simulation-driven animation.
My role focused on AV system integration, media engineering, and supporting visualization workflows for faculty and graduate research teams.
I was part of a small creative team that developed the short film “Deus Ex Machina”, which was selected for screening in the 1993 SIGGRAPH Electronic Theater—a rare achievement for an academic entry at the time.
I composed and produced the digital soundtrack, integrating foley effects, score, and timing.
These projects were central to GVU’s mission of pushing boundaries in usability, visual computing, and human–computer interaction research.
AV Systems and Production Support
Between 1990 and 1993, I worked with Georgia Tech research teams to prepare high-visibility public presentations—including the technical infrastructure behind Atlanta’s successful bid to host the 1996 Olympic Games.
This effort required precise coordination of AV playback systems, video signal routing, and synchronized display technology.
We integrated three Pioneer LD-6000 LaserDisc players via RGB output, feeding both analog and digital projection systems to ensure seamless, frame-accurate delivery.
At the center of the exhibit stood a custom-built 24″ × 24″ 3D acrylic model of downtown Atlanta, mounted on a control pedestal in front of the display wall.
The model incorporated a touch-sensitive X-Y grid, allowing users to press on specific buildings to trigger synchronized visuals across three large-format screens in real time.
Behind the scenes, our system empowered Georgia Tech to deliver a compelling, high-tech vision—showcasing the university’s innovation leadership and technical expertise to Olympic officials and global media.
Data Visualization & Research Support
In collaboration with Georgia Tech’s College of Computing, I helped design and implement a custom frame-capture system for high-resolution scientific visualization.
The system centered around a Panasonic LQ-4000 series magneto-optical disc recorder, connected through a Grass Valley Group transcoder. This unit converted RGB component video output from SGI Onyx workstations into a format suitable for the recorder’s analog component video inputs.
A custom application controlled the render-capture workflow: rendering a single frame, writing it to disc, and advancing to the next. This process continued until the full sequence was recorded—creating a complete animation stream, frame-accurate and ready for playback at 30 frames per second.