CREDITS

FishEye.tif

I was nominated for an Emmy Award on my first project,  Friday 13th the series, in season three.  I started as the guy sweeping the floors right out of University and ended up as the VFX Supervisor within the first season. I thought " THIS is going to be EASY !"

Turns out it's way more than  99 % perspiration....

Within a decade I built GVFX, Canada's first Artist driven VFX studio, with offices in Toronto, Vancouver and Santa Monica. After doing Outer Limits with MGM they asked me to do every pilot they brought to production; Stargate SG-1, Jerimiah and Stargate Atlantis, with two more Emmy nominations and several Gemini wins.

There were some very difficult years and, well, nothing lasts.

I freelance now, working directly for the studio and production rather than for a vendor, and with my facility experience and production background I work seamlessly with everyone.

IMDb_Light_Yelow.jpg

Complete credit list.

At the Geminis for the Outer Limits win.

At the Emmys for the Stargate pilot.

  • Designed look and feel of all VFX with directors and showrunner, worked with lead artists to execute.

  • Frequently travelled to LA to work with Sean Jablonski ( Showrunner ) and Post to design and deliver the season.

  • Set up in house team of 50 + artists for 70 % of shots.

  • Hired feature / high-end vendors for the most challenging scenes.

The I-Land

Netflix, Series

  • The project was shot in the Dominican Republic while I was finishing up Project Bluebook S1.

  • Worked closely with Netflix to design and deliver the major sequences.

  • Set up the in house team with my usual suspects, er , artists.

  • Worked with Fuse Vancouver on major sequence.

  • Originally I was not the VFX supervisor but was asked to step in to finish the season when VFX Supe had a family emergency after principle photography.

  • Worked closely with 2D and CG leads who provided the continuity across the transition.

  • Liaised with Netflix on our weekly status calls.

A+E, Series

  • Designed look and feel of all VFX,

  • Extreme emphasis was placed on the authenticity of weapons, aircraft and locations.

  • Set up in house team of 15 artists for 90 % of work.

  • Took over from the original supervisor after 1st month, who could not complete the season.

  • Designed all shots and supervised plate photography.

  • Worked with vendors (including Rocket Science inToronto and Solid Green in Calgary) for approx. 40 % of the work.

  • Supervised local Calgary artists already on staff to deliver 60 % of the two seasons.

Dragon 3D

Imax 3D Feature

  • Hired by Digital Dimension in Montreal to supervise VFX creation in stereo 3D.

  • Identified and solved problems in initial stereo cinematography and CG renders and comps.

  • The project went into prolonged hiatus and was never released…

The Hole, Joe Dante directing     

 Feature, Bold Films

  • Supervised Stereo cinematography of plates.

  • Set up and supervised In House team of artists

  • … we doubled the shot count for the same budget.

  • Won 1st place at Venice Film Festival for Best Stereo in a Feature Film.

  • Established in house pre-vis team to temp all VFX sequences.

  • Supervised main unit photography.

  • In house team was expanded to handle half the VFX shots.

  • Supervised London, Toronto, Vancouver, LA vendors.

  • Designed look and feel of VFX - including the "Kawoosh", or Gate Opening

  • Supervised all plate photography.

  • Worked closely with multiple vendors to deliver VFX

  • Designed digital environments, created 30’ by 90’ translates and greenscreen comps.

  • Supervised all plate photography.

  • Worked closely with Tippett Studios for approx. 20 % of work

  • Supervised lead artists at my VFX facilities in Toronto and Vancouver for 80 % of shots