space force - résultats de la recherche

Mitchell Drain began his career in 1985 as a roto artist at Robert Abel and Associates. Subsequently, he worked on the Flame and Inferno systems. He has participated in projects such as JUDGE DREDD, INDEPENDENCE DAY, BLACK HAWK DOWN or MINORITY REPORT. In 2004, he joined Asylum and became VFX Supervisor and will handle films like MASTER AND COMMANDER, NATIONAL TREASURE: BOOK OF SECRETS, THE UNBORN or G-FORCE. In the following interview, he talks about his work for THIS MEANS WAR.

Jesper Kjolsrud began his career on the film THE BORROWERS. After working 10 years in London with MPC and Double Negative on films such as PITCH BLACK, STALINGRAD, THE CHRONICLES OF RIDDICK or 10,000 BC. In 2009, Jesper joined teams Image Engine in Vancouver. He will work on the films DISTRICT 9, GREEN ZONE or THE LOSERS. In the following interview, he talks about his work on THE THING.

Rob Duncan has worked for nearly 15 years at Framestore. He has participated in projects like LOST IN SPACE, THE BEACH or STALINGRAD. As a VFX supervisor, he worked on films such as BLADE II, UNDERWORLD, AUSTRALIA or WHERE THE WILD THINGS ARE. In the following interview, he talks about his work on JOHNNY ENGLISH REBORN.

Max Ivins worked for more than 15 years in the VFX. Before joining the staff of Look Effects, he has worked at Digital Domain, Blue Sky / VIFX or Rhythm & Hues. He has participated in projects such as ARMAGEDDON, APOLLO 13, or BLOOD DIAMOND. He oversaw the effects of films like SCOOBY DOO 2, BEDTIME STORIES, or AVATAR. In the following interview, he talks about his work on CAPTAIN AMERICA.

Kirk Shintani worked for many years as a freelancer before joining teams of a52/elastic. In the following interview, he talks about his work on the main title of GAME OF THRONES for which he received an Emmy Award.

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.

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.

Vincent Cirelli and his brilliant team at Luma Pictures are back on The Art of VFX. After given life to the impressive Destroyer on THOR, Vincent discusses his work on the super-heroes of X-MEN FIRST CLASS.

Jody Johnson went through all stages at Double Negative. She begins with roto and the compositing on STALINGRAD, STARDUST or SHAUN OF THE DEAD. Then compositing supervisor and finally VFX supervisor for movies like PENELOPE or BRIDGET JONES: THE EDGE OF REASON.

Greg Oehler worked at CIS Hollywood for over 15 years and has participated in many projects such as TITANIC, THE BOURNE ULTIMATUM, WATCHMEN or INVICTUS.