NOW YOU SEE ME 2 - résultats de la recherche

Doug Campbell began working in visual effects since over 25 years. He participated in many TV series like STARGATE: SG-1, STARGATE: ATLANTIS or KINGDOM HOSPITAL. At Spin VFX, he worked on films such as OUTLANDER, LEGION or BATTLE LOS ANGELES. In the following interview, he talks about his supervision work for the series The Borgias for which he received an Emmy Awards nomination.

Karen Goulekas has over 25 years of experience in visual effects. She has worked in many studios such as Boss Film or Digital Domain. She has worked on such films as TRUE LIES, THE FIFTH ELEMENT or TITANIC. In 1998, she seized the opportunity to be Production VFX Supervisor on GODZILLA. She has since overseen the effects of movies like THE DAY AFTER TOMORROW or 10,000 BC.

After studying at the School of Art and Design of Zurich, Raffael Dickreuter joined the team of Pixel Liberation Front. He worked in many projects such as SUPERMAN RETURNS, TERMINATOR SALVATION, IRON MAN 2 or AVATAR. In 2002, he founded the reference site XSI Base.

Digic Pictures became known by working on the effects of TERMINATOR 3: RISE OF THE MACHINES. They then conducted numerous cinematic games like ARMIES OF EXIGO, WARHAMMER or DRAGON AGE 2. And of course, the impressive cinematics for the last three ASSASSIN'S CREED. In the following interview, the team Digic Pictures tell us about his work on ASSASSIN'S CREED REVELATIONS.

Robert Nederhorst worked since 10 years in the VFX. He has participated on projects like X-MEN, THE DAY AFTER TOMORROW or THE BOOK OF ELI. He joined Svengali FX in 2010 and oversees the effects of IRON MAN 2 and THE LAST AIRBENDER. In the following interview, he talks about his work on PRIEST.

Brendan Taylor began his career as on-set assistant for the series HELEN OF TROY. In 2004, he joined Mr. X and participates in projects such as 16 BLOCKS and SILENT HILL as VFX coordinator. Thereafter, it continues to be present on set for movies like SHOOT 'EM UP and WHITEOUT and VFX supervisor for LUST CAUTION or TAKING WOODSTOCK.

Paul Butterworth has worked at Animal Logic in 1993 as compositing artist and later became the first Australian VFX supervisor! He also directed numerous commercials and do a lot of matte paintings. In 1998, he oversee 1300 shots in 8 months for the TV series FARSCAPE. In 2000, he founded with Dave Morley, Andrew Hellen, Simon Maddison and Jason Bath, the studio Fuel VFX. He oversaw the effects of X-MEN ORIGINS: WOLVERINE and is currently working on Ridley Scott's PROMETHEUS. In the following interview, he talks about his work on THOR.

Jonathan Harb began his career as a production assistant in the art department at ILM in 1996, he later became concept artist, matte painter, supervisor of the matte painting department and VFX supervisor. At ILM, he worked on such films as MEN IN BLACK I and II, the new STAR WARS trilogy, THE PERFECT STORM, or I.A. In 2007, he founded Whiskytree and oversaw the effects of movies like TERMINATOR SALVATION or TRON LEGACY. In the following interview, he talks about his work on THOR.

Eric Fernandes has worked in many studios such as Industrial Light and Magic, Weta Digital or Dreamworks Animation and Digital Domain. He has worked on such films as STAR WARS EPISODE II: ATTACK OF THE CLONES, LORD OF THE RINGS: THE TWO TOWERS and RETURN OF THE KING but also on KUNG FU PANDA and AVATAR.

Kelly Port began his career in 1995 at Digital Domain on APOLLO 13. He participated in many projects of the studios such as TITANIC, RED PLANET or THE LORD OF THE RINGS: THE FELLOWSHIP OF THE RING. He will also oversee the effects of movies like WE OWN THE NIGHT, STAR TREK or THE A-TEAM.