Vesage Hardcover - 2005

Bernd Angerer
Bernd Aneger s career started in 1987 when he jumped into the tiny, new CG market in Vienna, Austria, following his technical education, equipped with a big portion of artistic goals. In those years he learned the new craft practicing on TV commercials and music videos and as assistant animator for traditional animation projects. Over the following ten years he experimented with CG character animation, resulting in the first fully CG animated commercial in Austria and later in the first Austrian CG-short movie about wine. In 1997, Bernd followed a wonderful invitation to join the animation team for Titanic at Digital Domain and spent the following years creating animations for Little Vampire, What Dreams May Come, Grinch, Timemachine, Lord of the Rings, Dare Devil and lately was lead animator on I, Robot . In between these feature projects he worked as animation supervisor on many commercials, amongst them the VES-awarded Adidas mechanical legs for David Fincher and most recently Disney Homecoming featuring 18 famous Disney characters brought into the 3D world. Besides his work in the CG industry Bernd currently produces large-format photo books about Los Angeles, photographed at night and enjoys painting digitally. Bernd Angerer is currently animation supervisor at Digital Domain. Eran Barnea
A veteran digital artist, Eran Barnea has been working as a Visual Effects Supervisor on feature films and commercials for 14 years, including a lengthy stint at ILM. A native of Israel, Barnea started his career working in the field of architecture, but he soon discovered the world of digital arts. After first applying this new technology to architectural designs, he began working as a designer and animator for broadcast television in Israel. Barnea eventually travelled to Europe and earned a Masters degree with distinction in Computer Animation and Image Synthesis from Middlesex University in London. He then spent a few years travelling through England, Spain, France, and Norway, working as a freelance digital artist on a wide range of projects. His work during this period won awards from digital imaging organizations Imagina and Art Futura, among others.
In 1996, Barnea came to the United States to work in ILM s commercial division, where he worked as an animator and a technical director on several award-winning commercials. He also contributed on movies like Deep Impact and Star Wars, Episode I: The Phantom Menace, among others. Barnea later co-founded Palma Studio in San Francisco to create high-end, animated visuals for video games. During this period, he supervised the creation of cinematics for titles that included Pirates of Skull Cove, James Bond, Lord of the Rings, and other interactive media projects.
Shannon Blake GansAs co-founder and CEO of New Deal Studios, Shannon Blake Gans is the organizational spine of the most dynamic young company in motion picture visual effects. A love for the arts and an eye for opportunity in the burgeoning field of visual effects brought Gans into partnership with Ian Hunter and Matthew Gratzner in 1995. She combined her business experience and education with Gratzner and Hunter s wealth of artistic talent and effects production experience. The result was Hunter/Gratzner Industries, Inc. (HGI), a miniatures and mechanical effects house offering pre-production design and on-set support services that fell outside the usual range of a model shop.
In 2001, Gans oversaw the acquisition of a neighboring production company s assets. As a result, HGI more than doubled in size and became New Deal Studios, a full-service visual effects production facility. New Deal s growth has progressed steadily since then, quadrupling in gross income and moving toward expansion into digital effects and film development and production. HGI/New Deal s credit list includes HBO s critically acclaimed series From The Earth To The Moon and feature films as Alien Resurrection, Terminator 3: Rise of the Machines and The Aviator by Martin Scorcese. The company is also known for its work on numerous commercials for such well-known clients as AT&T, Coca-Cola, Chrysler/Dodge, United Parcel Service and BMW. Shannon is a member of Women in Film and an active member of the Visual Effects Society. She was elected to the VES Board of Directors in 2002, and served both as Treasurer and member of the Executive Committee in 2004.
Dan CurryDan Curry has been involved with the arts since an early age, pursuing expression in film, fine arts, theater, music, and design. He is currently producing the visual effects for the final episodes of Star Trek Enterprise . This follows producing and supervising effects for: Star Trek: Voyager; Deep Space Nine; and The Next Generation . Dan s work has also been recognized by seven Emmy Awards, a Visual Effects Society Award, three International Monitor Awards, the first Hollywood Digital Award, and a British Cult TV Award for Best Special Visual Effects, as well as a number of awards for fine arts.
As a fine artist Dan works in a wide range of media and styles. In addition to visual effects, Dan s contributions to Star Trek include: directing; title design; martial arts and weapons design; matte painting; puppeteering; ship and creature design; and animation. Dan s work has also appeared in more than one hundred feature films, and over forty television productions ranging from Indiana Jones and the Temple Of Doom, and Top Gun, to Hill Street Blues and St. Elsewhere . Curry s educational background is in Film, Theater, and Fine Arts. Long time residing in Asia, and extensive world travel have been important sources of inspiration.
Syd DuttonSyd Dutton is the co-owner and supervising Matte Artist at Illusion Artists. Soon after graduation from University of California at Berkeley, Dutton s interest broadened to include film making, and he moved to Los Angeles. He got his start in the mail room at Universal Studios. Soon, a new world opened up to Dutton as Albert Whitlock took him as Assistant Matte Painter, not only teaching him the basics of painting photographically, but more importantly, how to give life to a painting.
After Whitlock s retirement in 1985, Dutton, along with his colleague, Director of Photography Bill Taylor, decided to buy the department s equipment and go out on their own. They formed Illusion Arts, and were joined by the same talented staff they had worked with at Universal Studios. Dutton s source of inspiration cannot be pinned down to one single event or personality. His love for science fiction, especially boyhood heroes Buck Rogers and Flash Gordon, is his guiding light when he paints futuristic scenes for films such as Star Trek V . The inspiration of the imaginary architecture of the 18th century painter, Piranesi, has found its way into many of Dutton s designs; notably the spectacular opening shot of Star Trek: First Contact . He has worked for a diverse group of the top directors, including: Martin Scorcese; Terry Gilliam; Wolfgang Peterson; Robert Redford; Mel Brooks; Richard Attenborough; Frank Oz; Rob Cohen; and Mike Nichols.
Harrison EllenshawHarrison Ellenshaw has spent all his life in art and film. As a Visual Effects Supervisor on Tron and Dick Tracy, a matte artist on Star Wars and The Empire Strikes Back, a director on Dead Silence, a documentary producer/director on So You re Afraid to Fly and Under Glass, he has been involved in almost every aspect of filmmaking.
The son of Disney legend, Oscar winner and renowned artist, Peter Ellenshaw, Harrison began painting at the age of four. Many years later he established his own reputation in 1977 when he worked as the matte artist on a highly speculative sci-fi film, Star Wars . From there he continued a distinguished career in visual effects, contributing to many notable films, including The Black Hole (for which he was nominated for an Academy Award), Captain Eo, Superman IV, Ghost, Dave, The Phantom, Escape from LA and many others. Yet he still found time to create paintings of his own. It was by pure coincidence that in 1989 while working on the very visual film, Dick Tracy, Ellenshaw attended a touring exhibition of paintings by the French Fauvist artists.
He continues to successfully balance two careers. Film and art have a great deal in common: to be successful they both need to create an emotion in the viewer that is compelling and fascinating. Ellenshaw s artwork is appreciated worldwide with paintings shown in galleries in London, New York, San Francisco and Tokyo. Peter Elllenshaw
Peter Ellenshaw describes his paintings as his own individual kind of realism. His paintings represent the truth of a scene as he sees it: A picture must look real. If I can t believe the pictureI paint, then I am not satisfied. Paintings must be alive. Born in England in 1913, Ellenshaw was fortunate enough to begin his career in film working for visual effects pioneer, Walter Percy Day. Then in the early 50s Peter came to California (where he still lives) to work for Walt Disney on the epic film, 20,000 Leagues Under the Sea . This lead to contributions to a new amusement park to be called Disneyland and to the milestone effects for the film Darby O Gill and the Little People . His work as a master matte artist, production designer and filmmaker culminated in an Oscar for visual effects on Mary Poppins .
But this legacy in film is matched and, may even be surpassed, by his reputation as a fine art master. His seascapes, Irish landscapes and cityscapes are represented in public and private collections throughout the world. Ellenshaw s numerous exhibitions at prestigious art museums include 12 one-man exhibits at Hammer Galleries in Manhattan. The artwork he produced during his 30 year association with Disney was honored in 1980 with a retrospective at New York s Museum of Modern Art. Ellenshaw calls his method of painting impressionistic shorthand, which refers to his use of broad brush strokes to give the impression of detail. The wonderful thing about painting is that one can never reach the peak of one s endeavor. As the years go by, it becomes increasingly difficult to paint just a little better everyday; but in the trying, one lives to the fullest as a painter. Scott Frankel
Scott Frankel has worked in the visual effects industry for over 12 years and is credited on 20 feature films. He is currently Visual Effects Supervisor and founding partner of Circle-S Studios, Inc. Before launching Circle-S he worked as Digital Effects Supervisor for ESC Entertainment in Alameda, CA, completing the last two sequels in the Matrix trilogy. That was after nearly ten years at Industrial Light & Magic in Marin County, CA. His Composite Supervision tenure there culminated with Dreamwork s Minority Report, for which he was nominated in 2002 by the Visual Effects Society for Best Compositing in a Motion Picture.
Scott has over 20 years of professional compositing and graphic arts design experience, reaching back to 35mm slide design and large-format, pin-registered composites for advertising and display media. Pursuing a life-long fascination with photography, especially with pinhole cameras, Scott was also active in the San Francisco Bay Area s vibrant independent film community, making experimental short films for more than ten years prior to his working in visual effects. With an accomplished background in Fine Arts and graphic design, and his experience as an independent filmmaker, Scott brings a keen eye, technical expertise, and a thorough knowledge of the filmmaking process to the field of visual effects.
Rocco GioffreRocco Gioffre has created matte paintings for more than 60 films that have bridged two eras, from the optical/photochemical domain to the modern digital palette. After apprenticing at age 18 for Matthew Yuricich and VFX supervisor Douglas Trumbull on Close Encounters of the Third Kind, Gioffre went on to become one of the founding members of Dream Quest Images, where he worked for seven years.
Since then, Gioffre has worked widely in film, TV and commercials and currently creates visual effects and matte paintings at his west L.A. studio, Svengali Visual Effects. Notable films that Rocco has contributed to include: Blade Runner, Caddy Shack, Twilight Zone: The Movie, National Lampoon s Vacation (created Walley World), Gremlins, Buckaroo Banzai, Back to School, Robocop, Dances with Wolves, City Slickers, Hook, Cliffhanger, What Dreams May Come, The Scorpion King, Terminator 3: Rise of the Machines, Angels in America, and Garden State . Rocco has been a member of the Academy of Motion Picture Arts and Sciences since 1988 and served on the Executive Committee of the Visual Effects Branch for nine years. Rocco has been a VES member since its inception and is also on the VES Board of Directors.
Kelly GraniteKelly has twelve years of experience in filmmaking with an emphasis on producing visual effects and computer animation. She is an accomplished artist and producer, receiving both an Emmy and a Clio for her work. Kelly worked as a Compositor on Van Helsing for Universal Pictures, and the Star Wars, The Empire Strikes Back, Return of the Jedi DVD Collection. From 1998-2003 Kelly ran her own company Howard Granite Films, (HGF) in Los Angeles, CA. HGF is a company that supplies computer animation, and production coordination services for feature films, commercials, music videos and television. As President and Senior Visual Effects Producer of HGF, Kelly was responsible for all aspects of the business, including marketing, budgeting, art direction, scheduling, production breakdown, crew hiring, commissioning of composers, recording the score, hiring the talent, producing visual effects and supervising animation. HGF assisted in the production of many projects including: Monkeybone, Chain of Command, pre-vis for Spiderman, Living La Vida Loca for Ricky Martin, Soldier, and Jack Frost . Prior to running her own company Kelly worked for Pop Film and Pacific Ocean Post. Kelly worked as an inferno artist on: Devil s Advocate, Flubber, Doctor Dolittle, What Dreams May Come, and Armageddon . Kelly paints in her free time. Her background includes a Bachelors Degree in Fine Art, and Computer Animation. Kelly lives in the San Francisco Bay area where she has formed a new company called Granite Sky specializing in corporate videos.
Ben GunsbergerBorn in Sydney, Australia, Ben Gunsberger began working in the visual effects industry in 1995 at Bump Map. Following that he took a position at Animal Logic where he worked on many projects for television and film, culminating with The Matrix in 1998. He then relocated to the United States to join PDI/Dreamworks on the animated feature Shrek where he was part of the lighting team. When that project was completed, he accepted a position at ESC Entertainment to be a part of the groundbreaking team for Matrix: Reloaded where he contributed mostly to the freeway chase sequence, in particular the final truck crash. At the same time as pursuing his visual effects work, Ben studied photography at the College of Fine Arts in Sydney and the University of California, Berkeley. His photographic works have appeared in galleries in Sydney and San Francisco and have been used commercially for commercial and editorial purposes.
He is an active member of the VES and an associate member of the Australian Cinematographers Society. He is currently back in his home city of Sydney working as lighting supervisor on the animated feature Happy Feet at Animal Logic. Eric Hanson
Eric Hanson is a Visual Effects Designer specializing in the creation of digital environments and effects for feature films. Trained originally as an architect, Eric established pioneering 3D visualization studios for some of the country s largest architectural firms, including The Callison Partnership in Seattle and Gensler in Los Angeles. After moving into feature Visual Effects several years ago, his design work can be seen in Fifth Element, Atlantis, Fantasia 2000, Bicentennial Man, Mission to Mars, Hollow Man, Cast Away, and The Day After Tomorrow . Eric specializes in 3D work with Maya, Renderman, and Shake, and is also an active teacher of those packages, having instructed courses on advanced effects techniques at Silicon Studio, UCLA, Gnomon School of Visual Effects, as well as leading a current curriculum on visual effects at the USC School of Cinema-TV. He speaks and holds workshops at many trade shows and universities, domestically as well as Japan and Europe. Eric is a member of the Visual Effects Society and holds a professional degree in Architecture from the University of Texas at Austin. He is currently executive producing a series of premiere instructional DVD titles on visual effects for The Gnomon Workshop, recently releasing three titles of his own on Digital Urban Environments, as well as having just published his second book on Maya technique for Peachpit entitled, Maya 6 Killer Tips . He wishes he could sleep more. Pam Hogarth
Pam Hogarth is Director of Industry Relations at Gnomon School of Visual Effects, a professional training center specializing in 3D computer animation. Before joining Gnomon, she was Director of Digital Media Institute. Pam fell into the world of computer graphics 21 years ago at Digital Productions when they were working on the ground-breaking film The Last Starfighter . Since then she has done marketing, public and industry relations, and training for hardware and software manufactures, distributors and educational institutions. She has taught at The American Film Institute, Otis College of Art and Design, and DMI and has lectured on computer graphics, digital careers and visual effects at various international conferences here and abroad. Pam served two terms on the Board of Directors, was Chairman of the Website Committee and Co-Chair of the Education Committee of the Visual Effects Society. She is also a co-founder and Steering Committee member of the Alliance of Digital Effects Production Trainers (ADEPT). Her name can be found in the credits of Demonslayer and Faye Dunaway s The Yellow Bird . She holds an M.Ed. from Kent State University and a B.S. in Fine Art and Psychology from Springfield College, Springfield, MA. She and her artist husband own the three greatest dogs in the world. Jack Haye
Jack Haye began his career in the visual effects industry as a modelmaker at Industrial Light & Magic working on miniatures for such films as Ghostbusters II, and Indiana Jones and the Last Crusade through to Death Becomes Her . At that time, he began to teach himself to model in Alias/Studio and he joined the Industrial Light & Magic Computer Graphics Department in 1993, doing matchmoving for Disclosure .
He continues to work at Industrial Light & Magic, most recently contributing to the effects for Lemony Snicket and Star Wars Episode III among others. He is very committed to the ideal of recycling and for his personal artwork, he prefers to work using society s discards as raw materials, spending as much time as possible at county refuse disposal centers and in dumpsters. He loves the beauty of old rusty things and weatherbeaten wood and tries to incorporate as much of this as possible into his artwork.
He currently resides with his wife and two step-children in Petaluma, California. He also has two grown sons, one grown daughter and one lovely six year old grand-daughter. Richard Hollander
Richard Hollander is the President of the Film Division and the Senior Visual Effects Supervisor at Rhythm & Hues Studios. He was the Senior Visual Effects Supervisor for the Rhythm and Hues sequence of the Sorting Hat in Harry Potter and the Sorcerer s Stone, several sequences including the Dogfight in X 2, the interstitials for Disney s Fantasia 2000, and the engine room sequences in Titanic . Recent projects include Garfield, Cat in the Hat, Chronicles of Riddick and Scooby-Doo 2 . Richard was awarded a CLIO for his work on the 3D (stereo) Panasonic Glider spot, a groundbreaking computer graphics film. At Doug Trumbull s Entertainment Effects Group (EEG) he continued work on motion control, designing COMPSY (Computerized Multi-Plane System) for Star Trek, The Motion Picture . Richard operated COMPSY for Blade Runner and Brainstorm. Richard was a founding partner of VIFX, which, over the course of its eleven years, grew to become a leading innovator in motion graphics and visual effects before merging with Rhythm & Hues Studios.
Richard was recognized for his contributions to the industry with a Scientific and Technical Achievement Award from the Academy of Motion Picture Arts and Sciences in 1998. Richard is a member of the Academy of Motion Picture of Arts and Sciences, serving on the Executive Committee for the Visual Effects branch of the Academy. He is a founding board member of the Visual Effects Society and has acted on the Executive Committee of that board for seven years. Evan Jacobs
An eighteen-year veteran of the visual effects industry, Evan Jacobs, worked his way up through the trenches at many leading effects houses such as Boss Film Studios and Fantasy II Film Effects. Along the way he worked on such projects as Outbreak and The Hunt for Red October . Jacobs served as miniatures supervisor on the feature film Ed Wood and then in 1994, he co-founded (along with colleagues Jon Warren and Douglas Miller) Los Angeles-based Vision Crew Unlimited, specializing in miniatures and mechanical effects. At Vision Crew Unlimited, Jacobs served as Executive Producer and Visual Effects Supervisor and contributed to many films such as The Mummy, Armageddon, and Titanic . The company also provides effects for Mazda, Lexus, Dr. Pepper, Nissan, Toyota, and Coca-Cola to name but a few.
In 1998, Jacobs was nominated for an Emmy Award for Outstanding Achievement in Visual Effects for a Miniseries for HBO s From the Earth to the Moon . Jacobs then joined Digital Domain in Venice, CA where he served as the 3D Department Manager for two years. He has since returned to visual effects supervision, working with Toronto-based Mr. X Visual Effects.
Jacobs was also an instructor for the Entertainment Studies Extension Program at University of California Los Angeles (UCLA) for three years. Eli Jarra
Originally from Detroit Michigan, Eli s career began in video production at Producers Color Service. During his tenure, Eli used the Sorenson Motion Control Rig in conjunction with LightWave 3D and Flame to create seamless transitions between multiple passes. This resulted in new opportunities for directors and DP s who ve always looked at locked cameras as a hindrance. During his five year tenure, his efforts resulted in winning both a Mobius and Golden Lion award. In 1995, Eli moved to Los Angeles and joined Complete Post as senior Flame artist. There he was able to produce effects on a variety of shows including Dharma & Greg, That 70 s Show, Third Rock from the Sun, Caroline in the City, Moesha and Home Improvement . Eli utilized the latest in computer technology to meet the demand for digital feature work. Some of his work involved massive crowd replication in the hit movies Joe & Max and Space Jam, as well as creating the opening title sequence for the Outer Limits, Pleasantville, The Avengers and Space Jam . His work has earned him a Tally award, two Axiom awards and two Monitor finalist awards.
Currently Eli is employed at EntityFX known for their work on Smallville, Spider-Man 2, Hitch and other films. Contributing his skills as an artist and supervisor, his collective efforts with the other artists have earned them two Visual Effects Society awards in 2003 and a 2004 Visual Effects Society award nomination. Randy Jonsson
A lifelong student of photography, native San Franciscan Randy Jonsson is in his fortieth year of capturing images on film. After briefly flirting with a career in the Navy, he left the military and entered film school at San Francisco State. Eventually, he was lucky enough to land a job at ILM in time to lend a hand with the making of Star Wars: Return of the Jedi . Many years and many films later, he s still there, having traded camera and lens for keyboard and monitor. Happily married in San Anselmo, California, he and his Canadian wife Caroline enjoy travel to distant lands, fine food and, of course, photography.
Peter C. KoczeraBorn and raised in New Bedford, Massachusetts, Peter Koczera first attended The Orson Welles Film School in Cambridge, Mass and then the RCA Institutes in Manhattan before being accepted for his photographic work to California Institute of the Arts. Mentored by Pat O Neil, Jules Engles and Don Levy, Peter received a BFA and MFA in Film/Video from Cal Arts with his work in Abstract Video Imagery conceived with many types of video, electronic and film sources but primarily with the Paik-Abe Video Synthesizer. His first commercial work was in 1979 for the Image West Company, in Hollywood, California utilizing the Scanimate Analog Computer. He has been in the forefront of the industry ever since working in commercials, television, music videos, and feature films, developing visual effect techniques with analog and then digital equipment. He has won awards for his work in the industry for graphics, editing and compositing.
He is currently on the Board of Directors for the Visual Effects Society, where he has served as the Chair of the Education Committee as well as a member of the Benefits Committee and the Strategic Planning Committee. Peter is currently a member of the Santa Clarita Valley Photographers Association and has recently been teaching and sharing his photographic knowledge and skills with third through sixth grade students at a local school in Valencia, CA. Tim Landry
Emmy award winner Tim Landry has made his mark on Hollywood films creating imagery, through his expertise in visual effects, that has contributed to a slate of films that have grossed more than a billion dollars at the box office. Mr. Landry enjoyed a long relationship with the Walt Disney Company where he was one of their top in-house Visual Effects Supervisors. Tim s experience in film-making and visual effects spans both the analog and digital eras. During the 1980s Tim and his crew were some of the primary suppliers of sophisticated slit-scan imagery in anticipation of the dawning of full 3D computer graphics shortly thereafter. Recently Mr. Landry s talents have contributed to Pirates of the Caribbean, Bulletproof Monk, Spider-Man 2, Sky Captain and the World of Tomorrow, A Sound of Thunder, Scooby 2, and Charlotte s Web .
Mr. Landry s work is evidenced in such films as The Sixth Sense (the twelfth highest grossing film of all time), My Favorite Martian, and George of the Jungle where he coached a hilarious performance from both live and computer generated versions of Shep the elephant. During his tenure at Disney, Tim also contributed to numerous theme park projects utilizing various formats including 70mm and IMAX.
He continues to photograph and paint for pleasure and spends as much time as possible doing so with his wife Mauriene at their cabin near Sequoia National Park. Lorne Lanning
Lorne Lanning is the Co-Founder, President, and Creative Director of the video game development company Oddworld Inhabitants. He has 18 years experience in computer graphics and digital media. He was initially trained as a photorealist illustrator at the School of Visual Arts in New York, and then later trained in classical animation and visual effects at the California Institute of the Arts (BFA). He has an Honorary Doctorate Degree from the San Francisco Academy of Art College and also serves on the board of directors for the AIAS, the Advisory Board of the Gnomon School of Visual Effects in LA, the Advisory Board to the President for the San Francisco Academy of Art College, and is also a member of the Visual Effects Society. Early on in his career, his interest in high technology led him to serve as a technical director at the TRW Visualization Center in Redondo Beach, California. Prior to founding Oddworld, Lorne worked with Rhythm & Hues Studios in Hollywood, CA. Here he grew through the ranks of Modeler, Technical Director, Art Director, and Visual Effects Supervisor. In 1994 he convinced computer graphics veteran Sherry McKenna (winner of over 40 Clio awards) to be the Co-Founder and CEO of Oddworld Inhabitants. Inspired by the nature of property universes created by the likes of Tolkien, George Lucas, Jim Henson and Walt Disney, Oddworld has since been dedicated to the creation of next-generation digital universes.
Andy LomasAndy Lomas studied mathematics at Trinity College, Cambridge and is an Emmy award-winning CG supervisor.
For many years he has been interested in how complex organic structures can be created from simple mathematical rules. He has had personal artwork exhibited at the Art Gallery at Siggraph and the Los Angeles Center for Digital Art. He was Head of Computer Graphics at ESC Entertainment (California) where he was the CG Supervisor for The Matrix: Revolutions . His main responsibility was for the Super Burly Brawl, when Neo returns into the Matrix for his final climactic fight in the rain with Smith. As well as supervising the CG he also personally developed the shader based system to do photo-real CG rain effects. At ESC he also worked The Matrix: Reloaded and Catwoman .
Prior to moving to California Andy was Head of 3D Animation at FrameStore (London) where he received Emmy awards for his work on Alice in Wonderland and The Odyssey as well as Emmy nominations for Arabian Nights and Jason and the Argonauts . He also worked on numerous other projects such as Walking with Dinosaurs, Dinotopia, Lost in Space, Fairytale (A True Story) and numerous commercials. He lectured in computer graphics and animation at The University of Teesside (England) and has given numerous talks about his work. Currently he is living in Los Angeles and working as Head of Character