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Karen Goulekas is back on The Art of VFX. In the following interview, she explains her collaboration with director Rian Johnson and the various challenges she encountered on this project.

Aleksandar Pejic has worked for many years at Double Negative and particularly on films such as BATMAN BEGINS, CHILDREN OF MEN, THE DARK KNIGHT or INCEPTION. He then joined Prime Focus and supervises the effects of TOTAL RECALL.

Benoît Pelchat has over 12 years experience in the VFX, he has worked at Animal Logic, Industrial Light et Magic or The Orphanage. He has participated in projects such as STAR WARS EPISODE III, IRON MAN, PIRATES OF THE CARIBBEAN: AT WORLD'S END or THE SPIRIT.

Grady Cofer is working in VFX for over 15 years. He participated in many projects at Digiscope as an Flame artist such as VOLCANO, TITANIC or GODZILLA. He then joined ILM and worked on films like PIRATES OF THE CARIBBEAN trilogy, STAR WARS EPISODE II and III as well as STAR TREK and AVATAR.

After speaking with us about the effects of SHERLOCK HOLMES: A GAME OF SHADOWS, Sirio Quintavalle is back to reveal the invisible effects of Framestore for the spy movie TINKER TAYLOR SOLDIER SPY.

After speaking with us about the effects for IMMORTALS, Simon Hughes returns to The Art of VFX. In the following interview, he talks of the many invisible effects for SAFE HOUSE.

Prior to joining MPC Vancouver, Seth Maury has worked for studios like Warner Digital Studios, Cinesite and Sony Pictures Imageworks. His career counts films like HOLLOW MAN, BIG FISH, SPIDERMAN 2 or ALICE IN WONDERLAND. In the following interview, Seth talks about his work on SHERLOCK HOLMES: A GAME OF SHADOWS.

Otto Thorbjørnsen joined Storm Studios in 2005. He worked on films like DEAD SNOW and THE TROLL HUNTER. In the following interview, he talks about his work as a VFX supervisor on the film KING OF DEVIL'S ISLAND.

After his great work on PRINCE OF PERSIA at MPC, Stephane Ceretti joined the team of Method Studios. He oversaw the shooting of the second unit for CAPTAIN AMERICA. Working with the VFX legend John Dykstra, Stephen talks about his work as supervisor on X-MEN FIRST CLASS.

Simon Stanley-Clamp began his career in feature film at Mill Film with LOST IN SPACE. He remained there until 2003, he has supervised the compositing of movies such as GLADIATOR and BLACK HAWK DOWN. He joined Cinesite in 2003 and oversees movies like MOON or CLASH OF THE TITANS.