Since 2007, George has worked primarily with Pat O'Neill's Lookout Mountain Studios where he designed, built, and administered all of the infrastructure and workflow relating to media. He navigated O'Neill's optical printers through an evolving series of adaptations into digital scanners. He also designed the render farm and network which allowed the artist access to all parts of the system from his NLE workstation, a uniquely challenging task given the artist's disability. This period has seen Mr. Lockwood's supervision of, and collaboration on, such notable installation works as the 5-screen The Decay of Fiction, the 3- screen versions of Easyout, Saugus Series, Trouble In The Image, the dual-screen No Wonder/Two Skins (a piece inspired by Mr. Lockwood's introducing O'Neill to the Prelinger Archive of ephemeral films) and more. In addition, George collaborated on single strand digital films such as Starting To Go Bad, Painter and Ball 4-14 (a film for which he designed and wrote the timelapse software used in the film), An Extra Wander: for Miss Chickie, and O'Neill's feature Where The Chocolate Mountains. Lockwood also designed and mixed all of the audio for all of O'Neill's pieces in this period.

During the same period, Mr. Lockwood finished his own feature The Tao Is Down (Best Visionary Sci Fi Feature at The Psychedelic and Transpersonal Film and Music Festival in NYC 2019). He designed and mixed David Lebrun's feature documentaries Out Of The Maya Tombs and Breaking The Maya Code (seen in an excerpted version on PBS' Nova). He also made a prototype stereo mix of Lebrun's The Hog Farm Movie.

An award-winning filmmaker in his own right, George Lockwood is, perhaps, best known for his long association with film experimentalist Pat O'Neill. In 1989, George designed and produced his first soundtrack, O'Neill's Water and Power, the landmark 35mm experimental narrative. The film was a winner of the Sundance Film Festival's Grand Prize and, in 2008, was inducted into the Library of Congress' National Film Registry. His body of sound work is notable, including such projects as O'Neill’s The Decay of Fiction (a project on which he also served as Director of Photography), Gregg Araki’s The Living End, and Jefery Levy's Drive (winner of the Venice Film Festival's Critics' Prize). As sound designer, he has completed David Lebrun’s Proteus. He was the picture editor for the Le Mystere de Papa Loko (for the opera at the Burning Man Festival), numerous shorts and music videos, and Les Bernstein’s feature Night Train, a project on which he designed both the optical effects and soundtrack. In addition to producing his own work, he has contributed to the work of such well-known artists as Mike Kelley, Jim Shaw, and Donald Byrd. His desire and ability to teach has made him desirable as a guest speaker at venues ranging from Los Angeles’ Getty Museum to the New York Film Festival, Carnegie Mellon University, UCLA, and Pittsburgh Filmmakers.

George received his MFA from the California Institute of the Arts School of Film and Video in 1978. On completion of his degree, he set out to develop an in-depth understanding of the technical processes of the film medium. This course has taken him through a series of positions including chemist, optical supervisor, director of photography, sound designer, editor, and director. His credits are diverse, ranging from California Raisins commercials to such major feature films as Return of the Jedi, Total Recall, Darkman, and the Robocop features. In the mid-80's, he supervised the restoration of such classic films as The Ten Commandments and White Christmas. He has been a regular judging panel member for television’s Emmy Awards in the category of Visual Effects.

With his features Buddies Galore and The Tao Is Down, he established a cinematic paradigm for socially based narrative production which has become a staple of contemporary digital media. Not surprisingly, Mr. Lockwood embraced digital technology early, by the mid-1980's, years before it became commonplace in the film industry.

Before adopting film as his chosen medium, Mr. Lockwood participated in live theater as a performer and director of such works as Samuel Beckett's Act Without Words I. He soon sought to expand his vision of theater and found his way to film where he devised means to make the economic resources required by the filmmaker comparable to those of the painter or poet. These efforts would define much of today's digital production paradigm.

Few in the medium possess George's breadth of experience which ranges from the deeply technical to a profound sensitivity to performance and dramatic structure. His work is frequently singled out for praise by reviewers. His experience across film, video, and digital processes proves invaluable to those with whom he works. He has taught non-linear editing as a tutor and continues to seek teaching opportunities both in the academic realm as well as through tutoring and consultation.

As a musician, Mr. Lockwood’s experience ranges from the concert stage to James Cameron’s Titanic, for which his expertise on the Irish fiddle led him to play in 1996. Also in 1996, he produced for the American Film Institute and the Los Angeles County Museum of Art a program of live musical accompaniment for Pat O’Neill’s films Two Sweeps and Let’s Make A Sandwich. He has studied Carnatic (South Indian classical) violin with Dr. L. Subramaniam. In the mid-1980's he founded the Keltones, a four-piece ensemble exploring Celtic-influenced musics, with well known Latin American harper and composer Cynthia Valenzuela. In addition to his motion picture work, he continues to play with his five-piece ensemble, Buzzworld.