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15 years ago
Showing posts with label Technicians (unsung Heroes). Show all posts
Showing posts with label Technicians (unsung Heroes). Show all posts
Andrew Daffy(Animator, Maya Guru)
Born in the UK in 1976, Andrew Daffy specializes in CGI Supervision for the post production industry. He started working at Framestore CFC as a Junior Animator in 1996.
After earning the position as Head of 3D Commercials some years later, he worked on award winning projects such as Levis Odyssey, Walking With Dinosaurs and two James Bond title sequences.
Andrew's final project within the company was the CGI supervision of a bat sequence for the film Harry Potter and the Prisoner of Azkaban. He's now looking at branching out. As well as editing promos and pitching for directing work, he's currently researching the idea of setting up a London based school focusing solely on training in photorealistic animation.
As well as freelancing for UK's major post production houses and animation studios, Daffy has now set up his own company - "THE HOUSE OF CURVES"
Scott Farrar
(Visual Effects Supervisor)
Scott Farrar is a Visual Effects Supervisor at Industrial Light & Magic (ILM), a position he held when he worked on the effects for Star Trek VI: The Undiscovered Country. His first contribution to the Star Trek franchise, however, was as photographic effects cameraman on Star Trek: The Motion Picture, before he joined ILM. during his early years with ILM, he worked as special effects cameraman on Star Trek II: The Wrath of Khan and Star Trek III: The Search for Spock.
Joining ILM as a visual effects cameraman, Farrar's early work includes Star Wars: Episode VI - Return of the Jedi, Willow, and Who Framed Roger Rabbit. His camera work on the film Cocoon helped ILM win an Academy Award for Best Visual Effects in 1986. After becoming an ILM Visual Effects Supervisor in 1988, Farrar helped the company earn three more Academy Award nominations for their visual effects work in the films Backdraft, A.I. Artificial Intelligence, and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. His other credits as an ILM Visual Effects Supervisor include Cocoon: The Return, Back to the Future Part II, Back to the Future Part III, Wolf, Amistad, Deep Impact, The Mummy, Star Wars: Episode I - The Phantom Menace, Minority Report, and, most recently, 2007's Transformers (written by Roberto Orci & Alex Kurtzman). He was also an additional effects plate photographer on Jurassic Park and supervised the visual effects of the end sequence in Men in Black.
FILMOGRAPHY
Joining ILM as a visual effects cameraman, Farrar's early work includes Star Wars: Episode VI - Return of the Jedi, Willow, and Who Framed Roger Rabbit. His camera work on the film Cocoon helped ILM win an Academy Award for Best Visual Effects in 1986. After becoming an ILM Visual Effects Supervisor in 1988, Farrar helped the company earn three more Academy Award nominations for their visual effects work in the films Backdraft, A.I. Artificial Intelligence, and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe. His other credits as an ILM Visual Effects Supervisor include Cocoon: The Return, Back to the Future Part II, Back to the Future Part III, Wolf, Amistad, Deep Impact, The Mummy, Star Wars: Episode I - The Phantom Menace, Minority Report, and, most recently, 2007's Transformers (written by Roberto Orci & Alex Kurtzman). He was also an additional effects plate photographer on Jurassic Park and supervised the visual effects of the end sequence in Men in Black.
FILMOGRAPHY
- Foes (1977)
Special Effects - Star Trek III: The Search for Spock (1984)
Camera Operator - Back to the Future Part III (1990)
Special Effects - Star Trek VI: The Undiscovered Country (1991)
Special Effects - Alive (1993)
Special Effects - Congo (1995)
Supervisor/Manager - Daylight (1996)
Special Effects Supervisor - Amistad (1997)
Special Effects Supervisor - Deep Impact (1998)
Special Effects Supervisor - Cowboys (2000)
Visual Effects Supervisor - Artificial Intelligence (2001)
Visual Effects Supervisor - Minority Report (2002)
Visual Effects Supervisor - Peter Pan (2003)
Visual Effects Supervisor - Rent (2005)
Visual Effects Supervisor - The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe (2005)
Visual Effects Supervisor - Transformers (2007)
Visual Effects Supervisor
Jeremy Cantor(Senior Animator, Insomniac Games)
Jeremy Cantor first became interested in growing up to be an artist when he received praise for being the only student in his kindergarten class to accurately draw a house's chimney perpendicular to the ground plane rather than to that of the slanted roof. Years of having his doodles confiscated by frustrated schoolteachers followed. Then, understandably frightened by the image of the digital nerd he might become, Jeremy left his sensible Computer Science / Math / Pre-Med University studies and ran away to Art School (in NYC & PA), much to the chagrin of his guidance counselors and more importantly, his Dad.
The art department at Scranton's Marywood University had an exciting, new Apple IIe computer program which allowed you to type in the XYZ coordinates of each vertex of a cube and in less than 20 minutes, you'd get a wireframe printout of your cube in proper perspective! Jeremy's future career fate was sealed when he was awarded extra credit for creating a cylinder!
After graduating with a degree in Illustration, Jeremy fulfilled his dream of actually getting paid to produce artwork by landing a minimum-wage job running the art department of a small t-shirt factory in a nasty suburb of Washington D.C. Six months later, he moved on to another silk-screen shop down the road. But this place was different. They had a Macintosh.
L.A. beckoned soon thereafter (a friend needed to sublet his room actually), so Jeremy packed up his art supplies & headed out West to learn more about this "animation" thing. After a year of waiting tables, taking animation classes & almost building a successful freelance illustration career (mostly doing TV storyboards), Jeremy accidentally stumbled into an Amiga store and saw a $65 program called "Turbo Silver" spewing out 3D images that his new Macintosh could only dream about. So he worked some extra shifts, bought an Amiga, and began teaching himself 3D animation. Given that software manuals (if they existed at all) were written by programmers in those days, the years Jeremy thought he'd wasted studying computer science finally paid off, as he was actually able to decipher the cryptic "Imagine" tutorials.
A few months later, a short 3D animated film had emerged, which was included in the 1991 L.A. Animation Celebration. This (now embarrassingly primitive) film helped Jeremy land his first job as a computer artist/animator for a small games company called Acme/Malibu Interactive, where 2 years of 3D design/animation and a whole lot of pixel pushing followed. Art directing SuperNintendo's "Battlecars" was the highpoint of his experience at Malibu (but nobody bought the game). In his spare time, Jeremy produced a second animated short, which toured with Spike & Mike's Animation Festival in the early 90's.
Northern CA beckoned (a recruiter from Sega actually), and Jeremy seized the chance to try out the Bay Area. The job at Sega only lasted a year (but he learned Softimage & made some great contacts there), and a small interactive house called P.F. Magic was the next stop. A variety of work was to be found there, which included directing the animation on the million-selling "Catz" (digital pet) product.
Jeremy then "made the jump to light speed" when he landed a job as a creature animator on Tristar's "Starship Troopers" at Tippett Studio in Berkeley. Jeremy stayed at Tippett for a couple of years, working on various demo projects and helping with the animation supervision on Disney's "My Favorite Martian". In late '98, Sony Imageworks recruited Jeremy back to L.A. to be the Animation Supervisor on "Hollowman". A hierarchy restructuring occurred in midstream and he shifted into the role of character setup supervisor for the duration of that particular project.
Jeremy is now gearing up for "Harry Potter", seeing if he can manage to stay at the same studio for more than 2 years, enjoying life as a newlywed, and slowly accepting the fact that he was ultimately unable to avoid becoming a digital nerd after all..
Currently, Jeremy is the Art & Animation director on "Full Spectrum Warrior", a console-based training simulation project for the U.S. Army, on which he is responsible for all visual assets and animation-related tools programming. He also teaches CG Character Animation at the California Institute of the Arts in Valencia, and his latest CG short film, "Squaring Off" will be featured in “North America’s Best Animated Shorts” (DVD collection) scheduled for release this Spring.
Source : Internet
Jim Berney(Visual Effects & CG Supervisor)
Since joining Sony Pictures Imageworks in 1996, Jim Berney has served as visual effects and CG supervisor on a number of notable projects Most recently, Berney supervised the creation of over 500 shots for "The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe." Work for the film included creation of the photo-real, fully CG characters: Mr. and Mrs. Beaver; Fox; and Maugrim, the wolf lieutenant who leads army of the White Witch. In 2004, Berney was visual effects supervisor on the IMAX version of the state-of-the-art performance capture feature "The Polar Express." He was responsible for supervising the conversion of over 780 shots from the already beautiful traditional 2D version of the film into the large format 3D IMAX version.
In 2003, Berney was the visual effects supervisor on "The Matrix Reloaded" and "The Matrix Revolutions," having recently completed his supervisory role on "The Lord of the Rings: The Two Towers," the second installment of the acclaimed trilogy. He was also supervisor on the international phenomenon "Harry Potter and the Sorcerer's Stone." Under his direction, more than 100 Imageworks artists created the CG characters Fluffy, the Troll, the Centaur and the exciting Quidditch sequence, complete with Harry and fourteen of his friends in an entirely synthetic environment.
Berney served as CG supervisor for "Hollow Man" (2000 Academy Award® nominee, Best Visual Effects), responsible for the Burning Man/Elevator Sequence. This heart-stopping sequence involved creating a photo real "burnt" version of Kevin Bacon, and incorporating him into a miniature/pyro set with digital set extensions.
Previously, he was invaluable as CG supervisor on the feature film "Stuart Little" (1999 Academy Award nominee, Best Visual Effects), having been involved in the development of the costuming technology. These cloth dynamics enabled the design, building, and simulation of 13 costumes for three CG characters. Berney also supervised the development of the versioning and publishing system and co-supervised the development of the lighting pipeline, which facilitated the seamless integration of the Stuart Little character into live action scenes.
Before "Stuart Little," Berney served as CG supervisor on the feature film "Godzilla" and was lighting lead on "Contact", "Starship Troopers"(1997 Academy Award nominee, Best Visual Effects) and "Anaconda" , where he developed rendering tools and the pipeline for photorealistic lighting techniques.
Prior to joining Imageworks, he worked at MetroLight, where he was a research technical director and part of the software development team, authoring flocking software for "Batman Forever" and procedural natural phenomenon lighting software for "Under Siege 2" and "Mortal Combat."
Berney began his career working for DARPA as an ADA programmer for a large software engineering consortium. He received his Master's degree in Computer Science from California Polytechnic, San Luis Obispo, specializing in the research and development of a new global illumination paradigm. He holds two undergraduate degrees in Computer Science and Economics from the University of California, Irvine, focusing in AI research. Berney also studied computer architectures at the Royal Institute of Technology, Stockholm, Sweden.
Sources : Internet
Richard Hoover
(Visual Effects Supervisor)
Academy Award® nominee Richard Hoover is one of the industry's most highly regarded visual effects supervisors. Most recently, he completed work on Superman Returns as senior visual effects supervisor for Sony Pictures Imageworks.
Hoover’s work at Imageworks prior to Superman Returns includes visual effects supervision on DarknessFalls, and Seabiscuit, the film adaptation of the best selling novel.
Prior to joining Sony Pictures Imageworks in 2002, Hoover worked for Dream Quest Images, which later became The Secret Lab, for more than ten years. While at the company, he was visual effects supervisor on Reign of Fire for director Rob Bowman, Unbreakable for director M. Night Shyamalan and Inspector Gadget for director David Kellogg and producer Jordan Kerner.
In 1998, Hoover teamed with director Michael Bay and producer Jerry Bruckheimer on Armageddon, which was nominated for an Oscar® in the category of Achievement in Visual Effects. During his early career, Hoover also served as visual effects supervisor on Jungle to Jungle and Freejack. Preceding his work on feature films, Hoover was one of the first directors at Dream Quest Image’s commercial division, DQ Films, where he designed, shot and supervised effects shots. During his tenure at DQ Films, Hoover directed the movie trailer for Total Recall, which went on to win a Special Achievement Award for Visual Effects from the Academy of Motion Picture Arts and Sciences in 1991.
Before moving to DQ Films, Hoover directed live action spots for New York-based Triplevision and Robert Abel & Associates.
At Robert Abel & Associates, a leading pioneer in the use of computer graphics in television commercials and film, Hoover worked with renowned and innovative commercial filmmaker, Robert Abel. With Abel, he had the opportunity to direct a variety of high profile commercials for national clients combining live action, computer graphics and a wide range of visual effects. With spots for Levi's and Wang, Hoover won several prestigious Clio awards and honors at film festivals in Cannes, New York and Chicago.
Hoover’s career began at Mid-Ocean Motion Pictures in Los Angeles where he tackled both live action and computer generated visual effects assignments. Here he demonstrated a keen understanding of character and drama, as well as a mastery of cutting edge technology.
Hoover is a graduate of the University of Oregon where he majored in Design with an emphasis in animation.
Hoover’s work at Imageworks prior to Superman Returns includes visual effects supervision on DarknessFalls, and Seabiscuit, the film adaptation of the best selling novel.
Prior to joining Sony Pictures Imageworks in 2002, Hoover worked for Dream Quest Images, which later became The Secret Lab, for more than ten years. While at the company, he was visual effects supervisor on Reign of Fire for director Rob Bowman, Unbreakable for director M. Night Shyamalan and Inspector Gadget for director David Kellogg and producer Jordan Kerner.
In 1998, Hoover teamed with director Michael Bay and producer Jerry Bruckheimer on Armageddon, which was nominated for an Oscar® in the category of Achievement in Visual Effects. During his early career, Hoover also served as visual effects supervisor on Jungle to Jungle and Freejack. Preceding his work on feature films, Hoover was one of the first directors at Dream Quest Image’s commercial division, DQ Films, where he designed, shot and supervised effects shots. During his tenure at DQ Films, Hoover directed the movie trailer for Total Recall, which went on to win a Special Achievement Award for Visual Effects from the Academy of Motion Picture Arts and Sciences in 1991.
Before moving to DQ Films, Hoover directed live action spots for New York-based Triplevision and Robert Abel & Associates.
At Robert Abel & Associates, a leading pioneer in the use of computer graphics in television commercials and film, Hoover worked with renowned and innovative commercial filmmaker, Robert Abel. With Abel, he had the opportunity to direct a variety of high profile commercials for national clients combining live action, computer graphics and a wide range of visual effects. With spots for Levi's and Wang, Hoover won several prestigious Clio awards and honors at film festivals in Cannes, New York and Chicago.
Hoover’s career began at Mid-Ocean Motion Pictures in Los Angeles where he tackled both live action and computer generated visual effects assignments. Here he demonstrated a keen understanding of character and drama, as well as a mastery of cutting edge technology.
Hoover is a graduate of the University of Oregon where he majored in Design with an emphasis in animation.
Sources : Internet
Rob Legato
(Visual Effects Supervisor)
Academy Award® winner Rob Legato received a Masters Degree in Cinematography from Brooks Institute of Photography in Santa Barbara. Upon graduation Legato went to work for the newly formed H.I.S.K. Productions (Hagmann, Impastato, Stephens & Kerns) as the live action commercial producer for director David Impastato. After a period of three years Mr. Legato joined Robert Abel & Associates where he served as producer, visual effects supervisor and ultimately director of visual effects oriented TV spots. The experience led to serving as a free lance supervisor and director for various commercial companies for several years before turning to television production.
Mr. Legato served as alternating visual effects supervisor for the TV series "The Twilight Zone" during its second season. This series led to the Paramount Studios production of "Star Trek: The Next Generation" where Mr. Legato served as visual effects supervisor, second unit and episode director for a period of five years. Legato then took over as visual effects producer/supervisor for the newly created series "Deep Space Nine" as well as directing one of the episodes of its first season. Both "Star Trek: The Next Generation and Deep Space Nine" earned Legato two Emmy Awards for Visual Effects.
He brought the experience gained in television, to his work in the cinema, receiving Academy Award nominations for Apollo 13 in 1995. He was also incharge of the effects on Neil Jordan's "Interview with the Vampire". In 1998 Legato received an Academy Award for his work on James Cameron's 1997 "Titanic", which took the use of digital special effects to new heights, particularly in the combining of computer generated images and live action shots.
Legato left Digital Domain to join Sony Pictures Imageworks where he served as visual effects supervisor on two Robert Zemeckis films, What Lies Beneath and Cast Away.
Legato was senior visual effects supervisor on Bad Boys II, which was recently nominated for a VES Award (Visual Effects Society) for Outstanding Supporting Visual Effects in a Motion Picture, and on the international phenomenon Harry Potter and the Sorcerer's Stone, based on the best selling books by J.K. Rowling. He is currently second unit director on Martin Scorsese's The Aviator,a film about the life of Howard Hughes.
Academy Award® winner Rob Legato received a Masters Degree in Cinematography from Brooks Institute of Photography in Santa Barbara. Upon graduation Legato went to work for the newly formed H.I.S.K. Productions (Hagmann, Impastato, Stephens & Kerns) as the live action commercial producer for director David Impastato. After a period of three years Mr. Legato joined Robert Abel & Associates where he served as producer, visual effects supervisor and ultimately director of visual effects oriented TV spots. The experience led to serving as a free lance supervisor and director for various commercial companies for several years before turning to television production.
Mr. Legato served as alternating visual effects supervisor for the TV series "The Twilight Zone" during its second season. This series led to the Paramount Studios production of "Star Trek: The Next Generation" where Mr. Legato served as visual effects supervisor, second unit and episode director for a period of five years. Legato then took over as visual effects producer/supervisor for the newly created series "Deep Space Nine" as well as directing one of the episodes of its first season. Both "Star Trek: The Next Generation and Deep Space Nine" earned Legato two Emmy Awards for Visual Effects.
He brought the experience gained in television, to his work in the cinema, receiving Academy Award nominations for Apollo 13 in 1995. He was also incharge of the effects on Neil Jordan's "Interview with the Vampire". In 1998 Legato received an Academy Award for his work on James Cameron's 1997 "Titanic", which took the use of digital special effects to new heights, particularly in the combining of computer generated images and live action shots.
Legato left Digital Domain to join Sony Pictures Imageworks where he served as visual effects supervisor on two Robert Zemeckis films, What Lies Beneath and Cast Away.
Legato was senior visual effects supervisor on Bad Boys II, which was recently nominated for a VES Award (Visual Effects Society) for Outstanding Supporting Visual Effects in a Motion Picture, and on the international phenomenon Harry Potter and the Sorcerer's Stone, based on the best selling books by J.K. Rowling. He is currently second unit director on Martin Scorsese's The Aviator,a film about the life of Howard Hughes.
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