program guide

Transcription

program guide

PROGRAM GUIDE
February 5 – 9, 2014
Vancouver International Film Centre
Vancouver · Canada
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WITH SUPPORT FROM
KILOBYTE SPONSORS
MEGABYTE SPONSORS
Message from the Conference Co-Chairs
On behalf of the S3D Centre of Emily Carr University of Art + Design, I want to welcome
you to SPARK [FWD]. This conference and festival represent both a follow-up on to
the inaugural 3D[FWD] conference held last year, and a partnership with the Spark CG
Society to merge 3D[FWD] with SPARK FX a long-time successful celebration of Visual
Effects and Film. Together we bring you a program with an exciting mix of stereoscopic
3D and other advanced imaging topics, blending historical and cutting edge content.
The Spark CG Society and the S3D Centre share the love of film and the desire to
build community in Vancouver. Both have done so much to bring people together to be
inspired, to network, to share ideas, and to look forward to what’s next. It is a great
match and I think you’ll agree that the synergy is evident in the many opportunities for
social networking built in to the program.
It is with deep appreciation and admiration that I acknowledge the tireless work of
the organizers of this conference. On the S3D Centre team, Denise Quesnel,
Alan Goldman, Jason Karman, Leanne Rooney, and Ghislaine Crawford were key to
bringing this event to fruition. And to all the sponsors and partners of this event,
a heartfelt thank-you for your continued support of this community. Your generosity
made this event the sparkliest yet!
Message from the Conference Co-Chairs
You may notice something different this year — a new name. It has been a year of much
change in our industry, and these changes provided an opportunity to form a union
between two very strong organizations. SPARK [FWD] is a new Spark — a partnership between the Spark CG Society, an organization that has been bringing leaders of the global
VFX and animation community to Vancouver for the last 6 years to educate and inspire,
and the S3D society from the Emily Carr University, which has been in the forefront education and research into stereo technology, HFR and stereo conversion. Our SPARK [FWD]
team has put together an expansive series of talks, panels, workshops and films that
cover many recent developments, as well as a few historic ones. Let’s celebrate the convergence of the creative and the technological, united in the exploration of storytelling.
Finally, an event of this magnitude doesn’t magically evolve. It takes a lot of hard
work and support. I would like to thank my Co-Chair, Maria Lantin who has been a pleasure to work with; all our sponsors who have been so generous this year; our speakers,
who have given of their time and willingness to share their knowledge with us and to
all our volunteers, who so selfishly give of their time to put this event on. Feel free to
say thank you to them yourselves. I know they will appreciate it greatly and this event
couldn’t take place without their help.
Now, don’t just stand there, grab a seat and enjoy the show.
Maria Lantin
Conference Co-Chair, SPARK [FWD] 2014
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Dennis Hoffman
Conference Co-Chair, SPARK [FWD] 2014
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british Columbia’s
OPENING NIGHT
$25 (+ GST) — Includes Opening Mixer, Keynote & Screening
SCHEDULE
Wednesday · February 5, 2014
6:00 PM
Opening Mixer (no minors)
7:00 PM
“From Fan to Filmmaker: The Journey to Bring Batman to the Silver Screen” with Michael E. Uslan
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9:00 PM
25th Anniversary: “Batman” (1989)
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FESTIVAL SCREENINGS
Thursday · February 6, 2014
“Depth Perception: Short Stories in 3D” — $10 (+GST)
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of british Columbia
Friday · February 7, 2014
by the provinCe
Proud Sponsor
of SPARK [FWD] 2014
finanCially supported
7:15 PM
7:15 PM
“Pacific Rim 3D” (2013) — $5 (+GST)
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Saturday · February 8, 2014
7:00 PM
“Jurassic Park 3D” (1993) — $10 (+GST)
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Sunday · February 9, 2014
3:00 PM
“The Wizard of Oz 3D” (1939) — $5 (+GST)
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5:00 PM
“20,000 Leagues Under the Sea (1954) — $10 (+GST)
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7:30 PM
“The Creature from the Black Lagoon 3D” (1954) — $10 (+GST)
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9:00 PM
“House of Wax 3D” (1953) — $10 (+GST)
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CONFERENCE PRESENTATIONS — $20 ea (+GST)
JOB FAIR (free of charge)
Thursday · February 6, 2014
9:00 AM
11:00 AM
1:00 PM
Citytv Atrium Lounge at Vancouver International Film Centre · Friday February 8 and Saturday February 9, 2014
Gatsby, S3D, & Creative Solutions for Making Films with Chris Godfrey & Jon Cowley
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Stereoscopic 3D for Storytellers with Demetri Portelli
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Navigating a Sea of Green with Michael Romey
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CAREER DEVELOPMENT DAY (free of charge)
3:00 PM
Breaking Grounds in “Walter Mitty” with Desiree Ryden & Alex Ouzande
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Scotiabank Dance Centre · Friday · February 7, 2014
5:00 PM
Defining Space: Exploring “Gravity” with Angus Cameron & Richard Baker
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11:00 AM
Friday · February 7, 2014
9:00 AM
The Making of “Gravity” with Tim Webber & Paul Debevec
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Modern Wizardry in the Land of Oz with Justin Jones & Chris del Conte
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1:00 PM
3D Storytelling at Disney Animation with Robert Neuman
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3:00 PM
Weta Digital’s Visual Effects for “Iron Man 3” with Guy Williams
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5:00 PM
High Frame Rate (HFR) and the Future of Content with John Knoll, Tony Pratt & Paul Salvini
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11:00 AM
Saturday · February 8, 2014
9:00 AM
Stereo 3D Roundtable with Ben Breckenridge, Matthew Blute, Robert Neuman & Dennis Hoffman
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From “Avatar” to “Gravity”: Lighting Photoreal Digital Actors with Paul Debevec
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1:00 PM
Cancel the Apocalypse: The VFX of “Pacific Rim” with John Knoll
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3:00 PM
Visual Effects Paradiso: A Few Millennia of Visual Effects with Michael Fink
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5:00 PM
“Jurassic Park”: 20th Anniversary & the Dawn of Digital! with Steve Williams, Stefen Fangmeier & Mark Dippe
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11:00 AM
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From 9:00 AM to 5:00 PM — Registration online & at the door.
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“Finding Employment in VFX” with Nancy Mott (VEC), Alison Verheyde (Gener8), Ben Owen (MPC),
Jimmy Ockey (Image Engine), Roula Lainas (Zoic) & Sarah Alvarado (ILM)
1:00 PM
“Hire Me! Who’s Hiring in Vancouver’s Animation Community?” with Anne Denman, Kate Harvey (DHX),
Kevin Gamble (Titmouse) & Shirley Andriesh (Nerd Corps)
3:00 PM
“Vancouver’s Animation & VFX Schools” with Anne Denman, Benjamin Colling (AI), Don Perro (Capilano University), Ria Benard (Lost Boys), Vanessa Jacobsen (VFS) & Wayne Gilbert (VanArts)
5:00 PM
“Blending Education, Research & Entrepreneurship” with Maria Lantin (S3D Centre), Dennis Chenard (CDM),
Larry Bafia (CDM), Peg Campbell (ECUAD) & Sang Mah (Mitacs)
WORKSHOPS (free of charge)
Scotiabank Dance Centre · Saturday · February 8, 2014
11:00 AM
“Thinkbox Software’s Tools and the Real World” with Bobo Petrov
1:00 PM
“Getting Creative with the Quantel Pablo Rio 4K” with Dale Codling
3:00 PM
“Paperless Filmmaking” with Zach Lipovsky
5:00 PM
“Stereoscopic 3D and You” with Di He
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VANCITY THEATRE // 1181 SEYMOUR STREET
Opening Keynote
From Fan to Filmmaker:
The Journey to Bring Batman to the Silver Screen
“Batman”
1989 // USA // Dir. Tim Burton // 127 min // PG
Gotham City has fallen into harsh times. The once safe streets are becoming increasingly unsafe and though D.A. Harvey Dent and
commissioner Jim Gordon are doing their best to quell the violence but the emergence of a villainous character simply known as Joker, is
proving to be more than they can handle — that is, until a brooding and mysterious vigilante known as “the Batman” appears to clean up
the streets and rid Gotham City of the Joker.
Celebrating its 25th anniversary, Tim Burton’s adaptation propelled Batman into a new, darker and more serious period. With great
performances from Michael Keaton as the caped crusader and Jack Nicholson as the Joker, Burton’s “Batman” cemented comic book adaptations not only as viable, commercial projects but also delved deep into the psyche of heroes and villains.
“Batman” © 1989 · Warner Bros. All Rights Reserved.
Wednesday, February 5th
Admission: $25 (+GST)
6 PM Opening Mixer
7 PM Keynote
9 PM 25th Anniversary Screening of “Batman”
Credited with creating and teaching the first accredited course
on comics, Michael Uslan has been a comic book fan — specifically
Batman — since childhood. A constant force behind the Batman
films, from executive producing Tim Burton’s “Batman”, Christopher Nolan’s “The Dark Knight Trilogy,” and writing “The Boy
Who Loved Batman,” Mr. Uslan is the leading expert on Batman.
During his presentation, he recalls the long journey acquiring the
rights to the caped crusader and the decades-long struggle in
Hollywood to bring “Batman” to the silver screen as the dark and
serious character he was originally.
Mr. Uslan’s presentation will be followed by a book signing
and a 25th anniversary screening of Tim Burton’s “Batman”
starring Michael Keaton, Jack Nicholson and Kim Basinger.
Michael E. Uslan
CEO, Executive Producer
Branded Entertainment
A teacher, writer and executive producer, Michael Uslan has
been passionate about comic books and Batman in particular,
since childhood. He began sharing his passion while at Indiana
University where he created and taught the first ever accredited
college course in comics.
His career as a producer began in 1979 when Mr. Uslan acquired
the rights to “Batman” from DC comics but it would be nearly
twenty years before his dream of bringing the caped crusader to
the big screen would be fulfilled but that dream became a reality
in 1989 with the release of Tim Burton’s “Batman.”
In the years since his initial success, Mr. Uslan has continued to
be involved with the production of all of the “Batman” movies,
most recently with the hugely successful “The Dark Knight
Trilogy,” and also written a book “The Boy Who Loved Batman”
which chronicles his youthful passion for his favourite comic
book character from the early years to today.
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Depth Perception: Short Stories in 3D
“Foxed!” Courtesy of James Stewart © 2013 · Geneva Film Co. All Rights Reserved.
Thursday, February 6th — 7:15 PM
120min // S3D // select films in 4K
Depth Perception: Short Stories in 3D’ features award winning
international films from Singapore, Poland, Germany, France,
USA and Canada. From a film made for a motion cinema ride,
to films created for viewing in museums, another crafted for
multi-projection installation, and yet others created for traditional cinema, this selection of films represents a variety of creative
stereoscopy & storytelling. This program contains a selection of
live action, computer generated and animated shorts curated to
generate inspiration and creativity in those that view them.
“A Lapse of Time”
2013 // France // Dir. Céline Tricart // 15 min // S3D
“The End of Pinky”
2013 // Canada // Dir. Claire Blanchet // 8 min // S3D
“Subconscious Password”
2013 // Canada // Dir. Chris Landreth // 11 min // S3D
“Globosome”
2013 // Germany // Dir. Sascha Geddert // 5:30 min // S3D
“Foxed!”
2013 // Canada // Dir. James Stewart // 4 min // S3D
“Breaking the Fall / Niepewne Orbity”
2013 // Poland // Dir. Lukasz Baka // 9 min // S3D
“Luigi’s Pizzaride”
2011 // Germany // Dir. Florian Werzinski // 2:30 min // S3D
“Souviens-moi” / “Forget Me Not”
2013 // France // Dir. Joséphine Derobe // 15 min // S3D
“Elysian Fields”
2013 // Singapore // Dir.: Ina Conradi Chavez // 11 min // S3D
“Atmosphere 3D”
2013 // Japan, USA // Dir. Ikuo Nakamura // 5 min // S3D // 4K
Canadian premiere.
“City of Ruins”
2010 // Poland // Dir. Damien Nenow // 5 min // S3D
“The Battle of Grunwald”
2012 // Poland // Dir. Platige Image // 3:30 min // S3D
“Daily Battles”
2012 // Canada // Dir. James Stewart // 7 min // S3D
“Impromptu”
2013 // Canada // Dir. Bruce Alcock // 10 min // S3D
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“Pacific Rim” © 2013 · Warner Bros. Entertainment Inc. and Legendary Pictures Funding, LLC. All Rights Reserved.
Pacific Rim
Friday, February 7th — 7:15 PM
2013 // USA // Dir. Guillermo del Toro // 131 min // S3D // PG
In a future where humanity is at war with monstrous sea creatures from another realm known as Kaiju, the scientific minds of
the world have created giant robots known as Jaegers to fight
off the invasion. Controlled simultaneously by two pilots whose
minds are locked in a neural bridge, the last bastion of Jaegers
are gearing up for final battle to save the human race from
extinction.
With years of passion for monster movies and Japanese
meka under his belt, writer/director Guillermo del Toro’s “Pacific
Rim” is a monumental mix of spectacle and heart. Cheer inducing
battle sequences are mixed with a story of friendship making,
“Pacific Rim” the kind of great blockbuster that will be continue
to wow viewers for years to come.
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25th Anniversary
Closing Party
Jurassic Park 3D
Saturday, February 8th — 9 PM
Admission: $15 (+GST) // Included with Conference Pass
Sorry, no minors.
“Jurassic Park” © 1993 · Universal Pictures. All Rights Reserved.
1993 // USA // Dir. Steven Spielberg // 127 min // S3D // 14A
Money can buy dreams and mogul John Hammond (Richard Attenborough) has brought his to life with a theme park located on a
remote island but he may have gone too far with Jurassic Park
which Hammond has envisioned as an adventure park complete
with dinosaur clones. Palaeontologist Dr. Alan Grant (Sam Neil)
and his assistant, Dr. Ellie Sattler, are invited to the park to
ensure that it safe for the public but during their preview tour,
the park suffers a power breakdown that leads to the exhibits
breaking out of their containment areas.
Farewell! Join us as we say goodbye to another successful year
of SPARK [FWD]. With the conference nearing its end for 2014,
spend some time unwinding from the days of presentations,
networking and meetings with drinks in the comfortable Citytv
Atrium Lounge of the Vancouver International Film Centre.
Winner of three Academy Awards, Steven Spielberg’s
“Jurassic Park” pushed visual effects into a new era. In time for
its 20th anniversary, Universal Pictures remastered the ground
breaking epic into state-of-the-art 3D, introducing an entire new
generation of moviegoers to a film which is as awe inspiring and
terrifying today as it was two decades ago.
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“20,000 Leagues Under the Sea” © 1954 · Disney Enterprises. All Rights Reserved.
75th Anniversary
60th Anniversary
The Wizard of Oz 3D
20,000 Leagues Under the Sea
Sunday, February 9th — 3 PM
1939 // USA // Dir. Victor Fleming // 102 min // S3D // G
Sunday, February 9 — 5 PM
1954 // USA // Dir. Richard Fleischer // 127 min // DCP // G
Introduction by Michael van den Bos
In the timeless adaptation of L.
Frank Baum’s series, Dorothy
(Judy Garland) and her dog Toto
are caught in the path of a
tornado that sweeps them into
the magical land of Oz. There,
Dorothy makes a number of
new friends who accompany
her on an adventure to the
Emerald City where she is to meet The Wizard of Oz who, she
hopes, can return her home to Kansas.
For nearly 75 years Victor Fleming’s fantastical musical
adventure has been delighting children and adults alike. There
is magic as the black and white of Kansas gives way to the lush
colour or Oz, and Dorothy’s adventure, full of excitement and
occasional terror (once seen there is no way to forget the flying
monkeys), continues to enchant audiences.
An adaptation of Jules Verne’s classic novel, Richard Fleischer’s
“20,000 Leagues Under the Sea” stars Kirk Douglas as Ned Land,
a professional whaler who joins an expedition to disprove the
existence of a vicious narwhal credited with sinking numerous
ships. What they find instead is an advance submarine, the
Nautilus, commanded by Captain Nemo (James Mason).
Walt Disney’s “20,000 Leagues Under the Sea” features
a lot of first for Disney: it was the first science fiction film
produced by the company, it was the only science fiction film
personally produced by Mr. Disney and it is often credited as an
early example of steampunk. The Oscar-winning film also features breathtaking underwater scenes and spectacular monster
effects that still impress in the wake of modern technology.
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60th Anniversary
60th Anniversary
Creature from the Black Lagoon
House of Wax
Sunday, February 9th — 7:30 PM // Admission: $10 (+GST)
1954 // USA // Dir. Jack Arnold // 79 min // S3D // PG
Introduction by Stan Hyde
Sunday, February 9th — 9 PM // Admission: $10 (+GST)
1953 // USA // Dir. André De Toth // 88 min // DCP // 18A
Introduction by Stan Hyde
While on a geology
expedition to the Amazon, a research team
encounters a living prehistoric creature. Part
reptile and part human,
Gill-Man doesn’t take
well to the researcher’s
attempts to capture
him. Dr. Maia’s team
eventually succeeds but Gill-Man breaks free, later returning
to the science ship to claim his prize: Kay Lawrence, a beautiful
young woman who is accompanying the expedition.
Professor Henry Jarrod (Vincent Price) and his partner Matthew
Burke (Roy Roberts), run a moderately successful wax museum
but when Burke asks Jarrod to produce larger, more sensational
exhibits in an effort to raise profits, Jarrod refuses. Angry and
looking to collect the insurance money, Burke sets fire to the
museum, killing Jarrod in the process. Or so he thinks.
One of Universal’s Classic Monsters, “Creature from the
Black Lagoon” has become a pop culture mainstay, influencing
everything from music to comics. The film has not always seen
as intended; originally filmed in 3D, it was largely screened in 2D
and later, in re-release and on home video, in inferior anaglyph
3D. Don’t miss the opportunity to see it in newly remastered 3D!
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A classic 1950’s horror, “House of Wax” is proof that not all
remakes are created equal. Removing the comic relief from “Mystery of the Wax Museum,” director André de Toth created not
only a masterpiece of the
3D era but a horror film
that still holds up today.
Warner Brothers completed a 4K scan of all three
strips of the Technicolor
elements for the movie’s
60th anniversary, making
this the best transfer ever
seen on the big screen!
Gatsby, S3D and Creative Solutions
for Making Films
“The Great Gatsby” © 2013 · Warner Bros. All Rights Reserved.
Thursday, February 6th — 9 AM
A behind-the-scenes look at how VFX Supervisors Jon Cowley
and Chris Godfrey supported the story and VFX of “The Great
Gatsby,” and what new techniques are coming soon to a theatre
near you. Chris Godfrey speaks about cutting edge work in
extended dynamic range in studio shoots, varispeed filming,
miniatures and how to reduce expenses on location. Jon Cowley
will discuss how Prime Focus blended their traditional VFX
workflow with the principles of stereo conversion, with the challenges and solutions to achieving this in a truly global operation.
From fireworks to floating mansions, come see how “Gatsby”
came together.
Chris Godfrey
Visual Effects Supervisor
Visual effects supervisor, Chris Godfrey,
describes “The Great Gatsby” (2013) as
“by far the biggest and most complex” film
he’s worked on. And he’s worked on many.
From winning an AFI award for Best Visual
Effects for “Australia” (2008) and a BAFTA nomination for Best
Achievement in Special Visual Effects for “Moulin Rouge” (2001),
to co-founding Animal Logic in 1991, Chris has been a passionate
force in visual effects, working as an editor, compositor, designer
and director. A film and commercial director as well, Chris
directed the award winning “Lest We Forget,” (2010) and the
Anchor Beer Campaign, shot in Korea, starring Rain (2013).
As visual effects supervisor for Animal Logic, Chris
supervised more than 1400 shots, on-set and in-studio for
“The Great Gatsby.”
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Jon Cowley
Prime Focus World
Jon is an experienced VFX Supervisor
who brings his considerable creativity
and expertise to the Prime Focus World
Vancouver team. He began his career as
a photo-real 3D visual effects artist and CG Supervisor in the
boutique VFX environment of Toronto, working on such films as
“Jason X” (2001), “Panic Room” (2002) and “Stay” (2005) before
branching out into visual effects supervision.
As a VFX Supervisor, Jon has had the opportunity to work on
a number of high-profile projects at studios around the globe. He
was sequence supervision of over 160 CG alien shots for “District
9,” VFX Supervision of 325 shots for “The Twilight Saga: Eclipse”
(2010) and working as digital effects supervisor on “TRON:
Legacy” (2010).
Jon brings to the team his considerable 2D and 3D expertise, on-set know-how, an ability to effectively and successfully
manage client-vendor-artist relationships, and ultimately an eye
for detail that is always geared towards the design and seamless
integration of live-action and CG.
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“The Young & Prodigious T.S. Spivet” © 2013 · Gaumont Film. All Rights Reserved.
Stereoscopic 3D for Storytellers
Demetri Portelli
Thursday, February 6th — 11 AM
Stereographer, Stereo Supervisor
Demetri Portelli will discuss feature film 3D cinema from prep,
to shoot, and into completion and exhibition. He will focus on
how the current 3D tools and craftspeople in our business must
serve the overall story and concept to keep 3D vital. He will also
address some of the common misconceptions of making 3D films
and discuss the hybrid model for overall success. Demetri will
then share a sneak peak of the yet to be released Jean-Pierre
Jeunet’s film “The Young & Prodigious T.S. Spivet” which was
shot entirely in 3D in Canada.
Stereographer and 3D Supervisor, Demetri
Portelli won the Best Live Action Stereography Award for “Hugo” at the 3D Creative
Arts Awards (2012). He launched into
native 3D capture on the “Resident Evil”
3D films, then worked with Cameron Pace Group on live sporting
events for ESPN 3D and shot the stereo footage for the IOC at
The Vancouver Winter Olympics.
More recently Demetri supervised the 3D capture and
stereo VFX for “47 Ronin,” Universal Pictures (2013), shooting
with British cinematographer, John Matheison. Demetri is also
very proud of the 3D work in “The Young & Prodigious T.S.
Spivet” (2013).
Also a cinematographer and camera technician, Demetri is
passionate that with the current abilities of stereo cinematography and VFX, 3D will continue to elevate cinematic experiences for many years to come.
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Navigating a Sea of Green
Michael Romey
Thursday, February 6th — 1 PM
Head of Pipeline, ZEUS Chief Technology
Officer
Zoic Studios
Courtesy of Zoic Studios © 2013. All Rights Reserved.
A deep exploration of ZOIC’s Virtual Production pipeline called
ZEUS. See firsthand how ZOIC manages every aspect of pre-production, production and post-production to deliver unthinkable
deliverable requirements. Topic will cover a broad spectrum of
application use cases from Unity, Maya, Hiero and Vray and how
they are all intertwined into a global pipeline.
Michael Romey joined Zoic Studios in 2007
as Head of Pipeline.
Over the past 6 years Michael’s expertise and interaction
with Zoic’s pipeline grew to encompass ZEUS (Zoic Environmental Unification System), a proprietary process that he created and
developed. ZEUS allows the pipeline to create upwards of 500+
shots per episode for hit shows such as “Once Upon a Time.”
Romey has been a featured speaker at various conferences
and industry events for HPA, IBC, NAB, SIGGRAPH and VES. He
has published articles in Post Magazine, Millimeter and countless
online outlets and blogs.
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“The Secret Life of Walter Mitty” © 2013 · Twentieth Century Fox. All Rights Reserved.
Breaking Grounds in Walter Mitty
Alex Ouzande
Thursday, February 6th — 3 PM
FX Technical Director // MPC
Alex Ouzande and Desiree Ryden, two FX technical directors from
Moving Picture Company, talk about their work on the city-boarding sequence in “The Secret Life of Walter Mitty.” Ben Stiller’s
character, Walter, chases his nemesis (Adam Scott) through the
city, and along the way they create boards and skis from the
street itself. The FX work required — destruction, debris and dust
that follow surfing on a concrete street — was created mainly
through Flowline and MPC’s destruction simulation suite Kali.
Alex joined MPC about 2.5 years ago as an
FX TD, during this time he has worked on
projects including “Man of Steel,” “Seventh
Son” and “Jack the Giant Slayer.” His main
speciality is creating all kinds of complex
destruction simulations by using a variety of tools and techniques dictated by the type of work required. Before joining MPC,
Alex worked 3 years as a CG Generalist working his way up from
Jr. artist to CG team Lead. He always welcomes a new challenge
and loves to blow stuff up.
Desiree Ryden
FX Technical Director // MPC
Desirée’s love of movies drew her into a career in VFX. She’s been at MPC since 2011
as FX Technical Director and worked on several projects including “Wrath of the Titans,”
“Prometheus” and “Man of Steel.” Desirée is passionate about the
FX discipline and continues to learn with each new project.
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Defining Space: Exploring Gravity
Thursday, February 6th — 5 PM // Admission: $20 (+GST)
“Immersive film-making at its finest” and “a must see in 3D”! Find out how the film endured four years in the making to become one of the
cinematic highlights of the 21st century.
The global success of Alfonso Cuaróns “Gravity” has thrust stereo 3D back into the limelight and proves that with the right content
and right approach, it clearly enhances the storytelling experience. London-based Angus Cameron and Richard Baker discuss the approach
and challenges of the project, and why “Gravity” has become one of the most successful 3D films ever made.
“Gravity” Courtesy of Warner Bros. Pictures. © 2013 · Warner Bros. Entertainment Inc. All Rights Reserved.
Angus Cameron
Richard Baker
Stereographer, Stereo Supervisor // Vision3
Senior Stereographer // Prime Focus World
Co-Founder of Vision3, Angus Cameron
has been in VFX for 20 years, working
on more than 60 feature, broadcast and
commercial projects in the UK, Australia,
New Zealand and Canada.
Angus has worked on films both shot in stereo and converted to stereo, including “King Kong,” “John Carter” and “WWZ.”
Working closely with a variety of DI and VFX companies, Angus
has ensured the seamless integration of CGI into stereo captured
images, recently highlighted by the documentaries “Natural History Museum Alive” (Sky), “Inside the Mind of Leonardo” (History
Channel) and “Flying Monsters 3D” (Sky).
With Stereo Supervisor & Vision3 Co-Founder, Chris Parks,
Angus provided additional stereography on “Gravity” and was
post stereographer on “TT3D:Closer to the Edge” and BBC Olympic Idents. He’s currently co-supervising “Edge of Tomorrow” for
Warner Brothers.
Richard has had an impressive career.
Compositor and Compositing Supervisor on
“Charlie & the Chocolate Factory” (2005),
the “Harry Potter” series, “Poseidon”
(2006), and “Angels & Demons” (2009), he
was nominated for Outstanding Compositing in a Feature Motion
Picture (VES) for his work supervising more than 200 shots in
the Gryphon attack sequence for “The Chronicles of Narnia:
Prince Caspian” (2008).
Joining Prime Focus World in 2010 to help build the
View-D™ unit in London (PFW’s proprietary 2D-to-3D conversion
process), Richard was key in the delivery of World War Z (2013),
Gravity (2013), and Frankenweenie (2012), working closely with
the directors and supervising the conversion processes.
Richard has made outstanding contributions to stereo
conversion advancement and has supervised the conversions of
a number of features at PFW. His work there now regularly takes
him around the world, overseeing the View-D™ teams in Los
Angeles, Vancouver and Mumbai.
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The Making of Gravity:
What to Do When There’s No Up or Down
“Shrek” © 2001 · DreamWorks Animation. All Rights Reserved.
Friday, February 7th — 9 AM
Moderated by Paul Debevec
Tim Webber first heard about Gravity in 2010 when he was
approached by long-term collaborator Alfonso Cuarén to help him
realize a film that no one knew how to make. Amazed by Alfonso’s
vision for the film, but unaware to what extent he and Framestore would be needed, Tim signed up for the movie.
A few years later, the film arrived, considerably more
computer-generated than first expected and considerably more
CG than live-action. Tim supervised the whole VFX process, from
creating in-depth pre-vis to inventing ingenious techniques for
filming the live-action elements.
Tim will discuss the process from start to finish, with
shot-breakdowns and behind-the-scenes material, revealing what
it was like to contend with zero gravity and some terrifyingly
long shots.
Tim Webber
Visual Effects Supervisor // Framestore
Tim joined Framestore in 1988 and
rapidly became the driving force behind
the company’s push into digital film and
television. He started supervising with
Emmy-winning VFX on Gulliver’s Travels in
1996 and has since guided the company in new directions while
supervising its most challenging projects. These include Alfonso
Cuarón’s “Children of Men,” Christopher Nolan’s “The Dark
Knight,” Spike Jonze’s highly original CG/practical creatures in
“Where the Wild Things Are” and sequences in James Cameron’s
incredible “Avatar.”
He was VFX Supervisor on Alfonso Cuarón’s space thriller,
Gravity. The unusual storytelling techniques and contemporary
space location led Tim to develop a number of ground-breaking
techniques to deliver stunning, photo-realistic visuals for the
film, three quarters of which is computer generated. In an industry first, Cuarón fought for Tim to be given a credit directly after
the Cinematographer to reflect his input on the film.
39
Modern Wizardry in the Land of Oz
Friday, February 7th — 11 AM
This is “The Wizard of Oz” as you have never seen it before.
Join Chris Del Conte and Justin Jones from Prime Focus World as
they discuss the process of creating 3D on the digitally restored
images from the original camera negatives. How do you design
the 3D depth and look for each scene? How do you keep it natural, enjoyable and unobtrusive while still enjoying the original
creative decisions from 1939? Learn how the final modern polish
was put on a timeless classic.
40
“The Wizard of Oz” Courtesy of Prime Focus World. © 1939 · Warner Bros. All Rights Reserved.
Justin Jones
Chris del Conte
Stereoscopic Supervisor // Prime Focus World
Vice-President, Business Development
Prime Focus World
Justin joined Prime Focus World’s VFX
team in 2008. After “Avatar” (2009), he
developed the View-D™ stereoscopic
conversion pipeline and was an early
contributor to the design and creation of the View-D™ process
for broadcast and short-form media 3D.
As Stereoscopic Supervisor, Justin oversees the creative
aspects of 3D projects. Early in a project’s cycle he collaborates
with clients to develop a creative strategy for a show’s structure
and workflow. Working closely with producers on shot analysis,
schedule consultation, departmental organization, and pipeline
development, Justin also manages a show’s progress across a
network of teams spanning North America, India, and the UK.
He has worked with clients such as Dreamworks Animation,
Paramount Pictures, Relativity Media, and Warner Bros. Most
recently, Justin was the key Prime Focus World Stereo Supervisor
for the Lucasfilm Star Wars conversions.
At age 10, Chris saw “Star Wars” and it
transformed his life. Since then, he’s had
such a passion for VFX and 3D that he’s
become a key player in the industry.
As a Senior Producer at Prime Focus World, his work on the
“Op’s Center” sequences of James Cameron’s Avatar (2009) was
invaluable and he helped build the initial 3D conversion workflow
pipeline. He produced the 3D conversions of “Clash of the Titans”
(2010) and “Cats & Dogs: The Revenge of Kitty Galore” (2010).
As PFW’s Managing Director (2012), he expanded PFW’s
new 200+ seat facility in Vancouver and oversaw the 3D conversions of “Men in Black 3” (2012), “Star Wars: Episode II – Attack
of the Clones,” “Star Wars: Episode III – “Revenge of the Sith” and
“The Wizard of Oz” (1939). As VP of Business Development, Chris
focuses on global strategic expansion of 3D conversion, vfx and
animation services.
41
3D Storytelling at Disney Animation
Robert Neuman
Friday, February 7th — 1 PM
Stereoscopic Supervisor // Walt Disney Animation
Central to the 3D approach at Walt Disney Animation Studios
is the drive to use stereoscopic depth as a creative medium to
enrich storytelling. Join Robert Neuman, Chief Stereographer, as
he explains how the studio treats the third dimension as an equal
partner in the storytelling process.
Robert Neuman, Stereoscopic Department
Head at Walt Disney Animation Studios,
is one of the industry’s leading experts in
3D filmmaking. He was the stereoscopic supervisor for Disney’s
2012 Oscar® nominated film, “Wreck-It Ralph,” and played an
integral role in adding dimension and excitement to that film’s
world of video games. Neuman pioneered the 3D process for
re-releases of “Beauty and the Beast” and “The Lion King” — the
latter winning the 3D Creative Arts Award for Best Stereoscopic
Conversion.
Neuman’s work on “Tangled” (2010), Disney’s 50th fulllength animated feature, won a 3D Creative Arts Award for Best
3D Scene of the Year. His achievements on Disney’s stereoscopic
pipeline were honoured with a Lumiere Award for 3D Technology. A true innovator, Neuman’s 3D work has generated a dozen
patent applications and he has received twelve Disney Inventor
Awards for innovations in stereoscopic filmmaking.
43
Weta Digital’s Visual Effects for Iron Man 3
Guy Williams
Visual Effects Supervisor // Weta Digital
“Iron Man 3” © 2013 · Marvel. All Rights Reserved.
Visual Effects Supervisor, Guy Williams, breaks down the climactic
third-act in “Iron Man 3,” and demonstrates how visual effects
intensify a great story.
The fiery battle sequence is set in a Florida seaport where
32 Iron Man suits battle an extremis mercenary army. Guy highlights the technical execution of the fully digital environment and
its destruction as the two sides clash in a tightly choreographed
battle sequence. He reveals how a full CG “Lava God” version
of Killian and the “extremis” character effect was realized, and
how Weta executed the transformation and destruction of the
different Iron Man suits.
Guy Williams has twenty years experience
in the visual effects industry, with a
specialty in photo-real effects.
Born in Jackson, Mississippi, Guy came to
New Zealand in 1999 to work on “The Lord of the Rings” trilogy.
Since starting at Weta Digital, Guy has worked on “The Lord of
the Rings” trilogy, “I, Robot,” “King Kong,” and “X-Men: The Last
Stand.” In his role as Visual Effect Supervisor, Guy has worked
across the whole VFX pipeline, from pre-production to shot
completion.
Guy’s Visual Effects Supervisor credits include “Eragon,”
“The Chronicles of Narnia: Prince Caspian,” “Avatar,” “A-Team,”
“X-Men: First Class” and “The Avengers.” He recently completed
work as a Visual Effects Supervisor on “Iron Man 3,” and “The
Hunger Games: Catching Fire,” and he is currently working on an
unannounced project.
45
High Frame Rate (HFR) & the Future of Content
John Knoll
Tony Pratt
Paul Salvini
Chief Creative Officer, Senior Visual Effects
Supervisor
Industrial Light & Magic
Workflow Manager
Park Road Post Production
Chief Technology Officer
Christie Digital
An open discussion among industry experts who are advancing
technologies to achieve greater creative expression. What are
the post-production challenges? What are the future exhibition
technologies that will allow us enjoy next-generation content?
Jump in and help us enhance the future!
46
John Knoll is the Chief Creative Officer
and Senior Visual Effects Supervisor
at Industrial Light & Magic (ILM). John
joined the company as a technical assistant in 1986, and was
soon promoted to motion control camera operator. After three
years of operating, Knoll was called upon to work on the ground
breaking digital effects for “The Abyss.” Since that time, he has
helmed the visual effects on more than twenty feature films
and numerous commercials and has been honoured with both
an Oscar and a British Academy Award in addition to multiple
nominations. His film background coupled with an advanced
understanding of digital technologies has made Knoll a much
sought-after supervisor. John initially took up computer graphics
as a hobby. Teaming up with his brother who was working on his
Doctoral Thesis in computer vision at the University of Michigan,
the Knoll brothers created Photoshop in 1987.
An integral part of the lead team developing a state-of-the-art workflow for Peter
Jackson’s Hobbit-based trilogy, “An Unexpected Journey” (2012), “The Desolation
of Smaug” (2013), and “There and Back Again” (2014), Tony plays
a pivotal role in developing Park Road’s Digital Cinema, VFX and
3D workflows.
With a background in film, broadcast and interactive media
technologies, Tony was the Digital Intermediate Supervisor on
the first big-budget Red feature, Alex Proyas’s “Knowing.” He has
worked on numerous projects in New Zealand and internationally,
and was recently in Bougainville, Papua New Guinea, setting-up
the remote location workflow for Andrew Adamson’s, “Mister Pip.”
As CTO of Christie Digital Systems (creators of digital projection
and display technologies), Paul Salvini leads his team in shaping
the direction of Christie® systems and software, exploring new
concepts and advanced technologies.
Before joining Christie in 2011, Salvini was the CTO at Side
Effects Software, where he led award-winning engineering teams
and software developers in creating advanced visualization,
simulation and display technologies. He has worked in 3D animation for Hollywood film studios and has converted complex data
sets into visualization solutions for defence and academia.
Prior to his work at Side Effects, Salvini was in engineering
and management for real-time and safety-critical software
systems. Salvini is president of the University of Waterloo Alumni
Council and is an Adjunct Professor of Engineering and KMDI
Senior Research Fellow at the University of Toronto. He was
named to Caldwell Partners’ “Canada’s Top 40 Under 40” list of
outstanding leaders.
47
Stereo 3D Roundtable
Saturday, February 8th — 9 AM
With stereoscopic 3D films having existed since sometime around
1915, it is a storytelling medium almost as old as photography
itself. From the resurgence in the 50’s of S3D thrillers, to the use
of IMAX 3D in the 90s, to the era of S3D popularity now, we have
entered a new stage of S3D filmmaking where digital cameras
and projectors have allowed us to create our most complex stories
into reality. Join Stereographer/Cinematographer Matthew Blute,
Disney head of Stereoscopic 3D Robert Neuman, Gener8’s stereoscopic supervisor Ben Breckenridge and moderator Dennis Hoffman as they explore the evolution and methods of stereoscopic 3D
using the past, present and upcoming feature films as case studies.
Matthew Blute
Cinematographer, Stereographer
LA-based, Matthew Blute, was the Stereographic Supervisor
on “Stalingrad,” the 2013 Russian war drama epic, directed by
Fedor Bondarchuk — the first Russian movie completely produced
with IMAX 3D technology. Most recently DP on a 4-camera, 3D
promotion for Best Buy, an episode of PBS’s “Future States” and
48
a 3D music video for Korean rock star, Kim Jang Hoon, Matthew’s
career has spanned dramatic features, documentary features,
television, music videos, commercials, and stereographic 3D.
Since learning 3D cinematography from Peter Anderson,
ASC, in 2002, Matthew has worked on hundreds of 3D projects
for Fox, NFL Films, Sony, Toyota, Turner and Warner Brothers. A
native of Vermont, Matthew earned an MFA in Cinematography
from the American Film Institute in 2003.
Ben Breckenridge
Stereoscopic Supervisor // Gener8 Media Corp.
Ben, an original member of Gener8, has been a stereographer and
stereographic supervisor since the company’s inception. From
pre-production through to project completion, Ben works with
film directors to set the creative vision for stereo films on both
conversion and native 3D productions. Ben has spent ten years
working on 3D productions, developing conversion software
and pipelines for both Gener8 and Conversion Works. He has numerous credits on top tier films, such as The Amazing Spider-Man,
Prometheus, Harry Potter and the Deathly Hallows, among many
others. Ben has a degree in Media Arts and Digital Technologies
from The Alberta College of Art & Design.
From Avatar to Gravity:
Lighting Photoreal Digital Actors
Saturday, February 8th — 11 AM
Today’s movie visual effects show increasingly complex
integration between virtual and real elements: real actors in
digital environments, and digital actors in real ones. A key to
making this work is to achieve consistent lighting between real
and virtual elements. This talk describes how the Light Stage
scanning systems and HDRI lighting techniques developed at
the USC Institute for Creative Technologies have helped create
digital actors and illuminate real ones in a range of prominent
visual effects films. For in-depth examples, the talk describes
how high-resolution face scanning, advanced character rigging,
and performance-driven facial animation were combined to
create “Digital Emily,” a collaboration with Image Metrics (now
Faceware) yielding one of the first photoreal digital actors,
and 2013’s “Digital Ira,” a collaboration with Activision Inc.,
yielding the most realistic real-time digital actor to date. The
talk includes recent results in HDRI lighting, skin microgeometry
measurement, 3D object scanning, and advances in autostereoscopic displays for 3D teleconferencing, holographic characters,
and cultural preservation.
Paul Debevec
Computer Graphics Researcher // USC ITC
Paul Debevec is a Research Professor at
the University of Southern California and
the Chief Visual Officer of USC’s Institute
for Creative Technologies. His work has
focused on image-based modeling and
rendering techniques beginning with his 1996 Ph.D. thesis at
UC Berkeley, with specializations in high dynamic range imaging,
reflectance measurement, facial animation, and image-based
lighting. He serves as the Vice President of ACM SIGGRAPH and
received a Scientific and Engineering Academy Award® in 2010
for his work on the Light Stage facial capture systems, used
in movies including “Spider-Man 2,” “Superman Returns,” “The
Curious Case of Benjamin Button,” “Avatar,” “The Social Network,”
“TRON: Legacy,” “The Avengers,” and “Gravity.”
51
“Pacific Rim” © 2013 · Warner Bros. Entertainment Inc. and Legendary Pictures Funding, LLC. All Rights Reserved.
Cancel the Apocalypse: The VFX of Pacific Rim
John Knoll
Chief Creative Officer
Senior Visual Effects Supervisor
Industrial Light & Magic
From aliens that threaten Earth’s very existence to massive
human-piloted robots, this presentation examines the wide-ranging scope of Industrial Light & Magic’s effects work on Guillermo
del Toro’s science-fiction epic “Pacific Rim.” John will reveal the
creative and technical challenges his team resolved in asset
development, character animation, lighting, digital environments,
advanced fluid simulation work, and more.
John Knoll is the Chief Creative Officer
and Senior Visual Effects Supervisor
at Industrial Light & Magic (ILM). John
joined the company as a technical assistant in 1986, and was
soon promoted to motion control camera operator. After three
years of operating, Knoll was called upon to work on the ground
breaking digital effects for “The Abyss.” Since that time, he has
helmed the visual effects on more than twenty feature films
and numerous commercials and has been honoured with both
an Oscar and a British Academy Award in addition to multiple
nominations. His film background coupled with an advanced
understanding of digital technologies has made Knoll a much
sought-after supervisor. John initially took up computer graphics
as a hobby. Teaming up with his brother who was working on his
Doctoral Thesis in computer vision at the University of Michigan,
the Knoll brothers created Photoshop in 1987.
53
Visual Effects Paradiso:
A Few Millennia of Visual Effects
Michael Fink
Attempting to disguise a checkered past,
Michael earned degrees from California
State University Northridge, San Francisco
Art Institute, and California Institute of
the Arts.
Did anti-aliasing start with Da Vinci? Ray-tracing with Van Eyck?
What links the work of Velasquez and Zemeckis? If Vermeer were
alive today, would he be a matte artist at ILM? Who created the
very first visual effects shot and how was it done? And was it
really Edison or was it Massacio that created it?
In Visual Effects Paradiso, we look at the broad canvas of
Western art, photography, and film through the eyes of a visual
effects filmmaker. From wall paintings in Herculaneum to modern
visual effects scenes in contemporary film, we examine how
artists have used technology to create new realities — and how
the concerns of early artists are very much the same concerns
shared by filmmakers today.
Starting with “China Syndrome” (1977), Michael worked
on “Star Trek: The Motion Picture” and “Blade Runner” before
becoming a Visual Effects Supervisor on “War Games” (1982). He
has worked on more than 50 films, including “Buckaroo Banzai,”
“War Games” (BAFTA Nomination), “Batman Returns” (Academy
Award Nomination, BAFTA Nomination), “Braveheart,” “Mars Attacks!,” “X-Men,” “X-Men 2,” “Constantine,” “The Golden Compass”
(Academy Award, BAFTA Award), “Tropic Thunder,” “Avatar,”
“TRON: Legacy,” “Sucker Punch,” “Tree of Life,” and “Life of Pi.”
A founding member of the Visual Effects Society and a
member of the Executive Committee of the Visual Effects Branch
of the Academy, Michael is also a Professor at the School of
Cinematic Arts at the University of Southern California, and a
supervisor and consultant on visual effects and 3D projects.
55
Jurassic Park:
20th Anniversary and the Dawn of Digital!
“Jurassic Park” © 1993 · Universal Pictures. All Rights Reserved.
Ironic that an extinct creature would launch a digital era, right?
But that’s exactly what happened! Come meet mavericks Steve
‘Spaz’ Williams, Stefen Fangmeier, and Mark Dippe and hear how
they so impressed Steven Spielberg after clandestinely getting
an animated dinosaur test viewed, that they got the nod to
create Jurassic Park’s CG dinosaurs when all claimed CG creatures
weren’t possible! The CG dinosaurs of Jurassic Park started it all!
Without the ‘prefab’ software tools we have today, these artists
devised their own tools and animated digital creatures that still
stand strong! See work-in-progress clips and hear hilarious tales
of life in The Pit at ILM.
Steve Williams
Director, Visual Effects Supervisor
Multiple award-winning commercial
director and educator with more than 300
commercials to his credit, Steve ‘Spaz’
Williams is a legend in visual effects. A
graduate of Sheridan College, Toronto,
Spaz’s ingenious ability to apply computing technology to his
animation passion soon landed him in The Pit at Industrial Light
& Magic. Chief Animator and Modeler on “The Abyss,” “Terminator
2,” “Hunt for Red October” and “Jurassic Park;” VFX Sup, Second
Unit Director and Executive Producer on “Spawn,” Spaz was
nominated for an Academy Award for “The Mask.”
But it was “Jurassic Park” that launched the digital era and
Spaz’s legacy. When told CG dinosaurs weren’t possible, Spaz and
Mark Dippe proved everyone wrong with a wireframe animation
test that caught the eyes of Universal executives and changed
the course of filmmaking, with CG becoming the hot new thing!
57
Mark Dippe
Stefen Fangmeier
Director of “Spawn” and VFX Supervisor
on multiple motion pictures and television
films, including “Paranormal Activity,” “The
Flintstones,” “Jurassic Park,” “Terminator
3,” “The Hunt for Red October” and “The
Abyss,” Mark Dippe is also the founder of The Animation Picture
Company, based in Los Angeles. Mark’s brilliant mathematical
skills were integral to solving the complex theoretical and
calculational challenges in creating the CG tools, for the first
time in CG history, that made the “Jurassic Park” dinosaurs such a
remarkable success — remember, there were no “Maya” character
animation tools at that time, everything was originally created
with ingenuity and determination!
58
Director of “Eragon” and Oscar® nominated
VFX Supervisor for “Twister,” “The Perfect
Storm,” and “Master & Commander,”
Stefen Fangmeier has dozens of motion
picture and television series to his credit,
including “The Bourne Identity,” “Game of Thrones,” “Lemony
Snicket’s A Series of Unfortunate Events,” “Terminator 2” and
“Jurassic Park.” A BAFTA award winner for best visual effects in
“Twister,” “Saving Private Ryan” and “The Perfect Storm,” Stefen
has had a remarkable career. It was Stefen’s groundbreaking
shader development combined with Spaz’s outstanding creature
animation that made the “Jurassic Park” CG dinosaurs an iconic
accomplishment even by today’s standards, 20 years later.
CITYTV ATRIUM LOUNGE // 1181 SEYMOUR STREET
Job Fair
Participating Studios:
February 7th & 8th — 9 AM to 5 PM
Admission: FREE
• 3pod
The SPARK [FWD] 2014 Job Fair is FREE to attend and gives CG
pros and students a top-rate opportunity to connect with international 5-star film and television studios staffing up for projects.
This job fair is your opportunity to get past the front door and
meet the decision makers on globally acclaimed productions seen
by millions of people around the world.
We give you one-on-one time with studios. You’re not just
handing off a resume and a reel. This is about relationships,
building strong ones for today and down the road.
• CoSA VFX (Saturday only)
• Digital Domain
• Framestore
• Gener8 Media Corp.
• Image Engine
• Industrial Light & Magic
• Moving Picture Company
• Nerd Corps Entertainment
• Prime Focus World
• Scanline VFX
• Zoic Studios
61
Credits
Your Volunteers
Co-Chairs:
Maria Lantin & Dennis Hoffman
Advait Kamble + Alonso Benavente Fortes + Andrea Stadler + Angela Han
Carlos Walraven + Carlos Oceguera + Chanarat Temaismithi + Daniel Pardo
Federico Sella Frances Padua + Gabriela Oliveira + Hector Arriaga + Homero López
Janelle Bidne + Jessica Lo + Jordan Wong + José Aguilar Herrera + Joseph Briones Li
Katia Truong + Kate Grubb + Kris Ruff-Frederickson + Kushal Goenka + Linh Pham
Malvin Tjokro + Maria Belen de Rama + Maxx Taga + Maria Dushyna + Miguel Ortiz
Momcilo Stojkovic + Natty Boonmasiri + Nazanin Taherdin + Rosaline Oh + Roman Bajevs
Sean Arden + Sean Saurav Kalra + Scott Kitson + Shanelle Padilla + Shibu Mathew
Stephen Mears + Thomas Pecheur + Paul Deeb + Vance Dehne + Madeline Hendricks
Reem ElShaer
Production: Denise Quesnel,
Alan Goldman, Jason Karman
Finance: Leanne Rooney
Sponsorship: Ghislaine Crawford
Media Relations:
Helen Yagi & Robin Perrin
Volunteer Coordinators:
Brian Iankovs, Janelle Bidney &
Keith Blackmore
62
A Huge Thank-You...
To all of our sponsors, all the participating individuals, studios, distributors and attendees, this would not be achievable without you!
Organized by
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program guide

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