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Full Speaker Details with bios and Session Descriptions

AEAF 2017 Speaker Program

Speaker Program
10am  - 5pm 15 and 16 August

AEAF Awards
6pm 16 August

AEAF is looking for, supervisors, animators and industry experts to speak at the 2017 Speaker Program, 15-16 August. Are you interested in presenting your work, ideas or vision to fellow VFX and digital artists? If you would like to be on the AEAF program, please email Sean Young at This email address is being protected from spambots. You need JavaScript enabled to view it.

Weta Digital

 Weta planet apes

Weta Digital will give behind the scenes accounts of their latest major projects at AEAF. The Academy Award winning studio is one of the world’s best known visual effects companies, recognised for their performance-driven digital characters in projects ranging from ‘Avatar’ to ‘The Adventures of Tintin’ and ‘The Hobbit’ trilogy. Stay tuned for more exciting information coming soon.

Most recently the team has been working on ‘Guardians of the Galaxy: Vol 2’, ‘War for the Planet for the Apes’ and ‘Valerian and the City of a Thousand Planets’. One of these projects will be the subject of the company’s presentation.


Animal Logic’s Rob Coleman to Speak  on ‘The LEGO Batman Movie’

Head of Animation at Animal Logic, Rob Coleman, will speak at AEAF in August to give attendees a glimpse behind the scenes of ‘The LEGO Batman Movie’, showing his team's recent work.

Rob Coleman cjpg

Head of Animation at Animal Logic, Rob Coleman, will be among the speakers at AEAF in August to give attendees a glimpse behind the scenes of ‘The LEGO Batman Movie’, showing the Animal Logic team's recent work.

Rob Coleman is a two-time Oscar nominee for his animation work on ‘Star Wars: The Phantom Menace’ (1999) and ‘Stars Wars: Attack of the Clones’ (2002). He has also been nominated for two BAFTA Awards for his work on ‘Men In Black’ (1997) and ‘The Phantom Menace’ (1999). He spent 14 years at Industrial Light and Magic and Lucasfilm Animation working closely with George Lucas. He has built and supervised animation teams in Canada, the United States, Singapore and Australia. He was the Head of Animation on ‘The LEGO Movie’ (2014) and was the Animation Supervisor on ‘The LEGO Batman Movie’ (2017).


Jeff Capogreco Visual Effects Supervision ILM


Jeff Capogreco joined Industrial Light & Magic in 2014 as an Associate VFX Supervisor on Jurassic World. He has a post graduate diploma in Computer Animation from Sheridan College and a successful 10+ year career producing top quality imagery for feature films. Prior to ILM he worked at WETA Digital as a VFX Sequence Supervisor on such films as The three Hobbit films, Rise of the Planet of the Apes, The Adventures of Tintin and Avatar.

Founder and creative director Ian Kirby and 3D artist Luke Bicevskis are coming to speak at AEAF in August from award-winning creative studio The Sequence Group, based in Vancouver.


The Sequence Group Ian Kirby and Luke Bicevskis

Two artists are coming to speak at AEAF in August from award-winning creative studioThe Sequence Group, based in Vancouver. In business for the last 11 years, the group specializes in design, animation and visual effects. Founder and creative directorIan Kirby, and 3D artist Luke Bicevskis who is also creative director at Sequence’s new Melbourne, Australia office, will talk about their work and company.

As creative director, Ian works at Sequence as director, producer and visual effects artist. He has extensive experience in film, television and gaming and works closely with production studios and video game developers with expertise in the narrative expansion of new and existing properties. Ian’s hands-on background in animation, visual effects and live action enables him to undertake and manage a broad spectrum of mediums and projects.

Ian kirby sequence

Sequence Luke Bicevskis

Over his career, Luke has worked as a designer, illustrator, compositor and 3D artist on a number of award-winning projects across advertising, documentaries and animation. He won MIFF’s Best Short Documentary award for his illustrative work on Lukas Schrank's ‘Nowhere Line: Voices from Manus Island’. At Sequence, Luke has applied his skills to projects for clients including Microsoft, Disney and Slack.

Sequence opened in 2006 with an initial focus on broadcast design and motion comics. Ian and art director Andrew West worked together on one of the first motion comics, ‘Broken Saints’, a style that readily appealed to clients looking for backstory for films including ‘I Am Legend’, ‘Inception’ and ‘Prince of Persia’.

Meanwhile the Sequence team grew and the studio now handles visual effects and broadcast design for most types of production from concept through completion. Their team’s experience includes the‘Batman’and‘Harry Potter’franchises,Halo: Fall of Reach, Marvel: Avengers Alliance 2 Civil WarandStar Wars: Commander, as well as commercials blending live action with VFX. Other projects are'Batman: Black and White'and Sony Santa Monica’s video games‘Bound’and‘What Remains of Edith Finch’.

Company evolution notwithstanding, Sequence retains design and artistic expression as the starting point for projects. Recent clients include 343 Industries, Disney Interactive, ABC, Kabam, Dallas Stars, Warner Brothers, 20th Century Fox, Sega and DC Entertainment.

Sequence’s work has received Awards recognition several times, including an IAWTV Award, a Bass Award and an Audience Award at the Sundance Online Film Festival. The team also won an Accolade Global Film Competition Award for excellence in animation for their work on ‘Halo: Fall of Reach’. 

Iloura’s VFX Supervisor Lindsay Adams

Lindsay Adams w

Lindsay Adams from Iloura animation and visual effects studio in Melbourne.

Lindsay has worked in visual effects for over 15 years at several studios including ILM, MPC and Animal Logic as well as Iloura. Working within his specialty in compositing, he was nominated for a VES award for Outstanding Compositing in a Photoreal Feature for his work on ‘Mad Max: Fury Road’. Lindsay's work also includes ‘The Avengers’, ‘300’ and ‘The Lord of the Rings: The Return of the King’. In 2017 he supervised the visual effects for HBO’s ‘The Leftovers’ which filmed in Australia.




Tracey Taylor at The Pulse to Speak on VR/360 Production at AEAF


The AEAF Awards is expanding its scope to bring expert speakers from the VFX, animation and post production industries to talk about new trends, past experience and upcoming projects at the  AEAF Speaker Program to be held in August 2016 in Sydney. The speakers will include artists, supervisors and producers who will enlighten you with new, creative approaches to their work and insights into the projects they have contributed to.

The AEAF Awards has grown each year, receiving fantastic entries from around the world, and attracts a talented, friendly audience to the Awards Night. We are excited about inviting speakers to the new event. If you or one of your colleagues are interested in contributing, please contact This email address is being protected from spambots. You need JavaScript enabled to view it..

In the months leading up to the event we’ll be featuring profiles of the speakers as the Program takes shape. First is Tracey Taylor from The Pulse in Sydney, who will be talking on VR/360 project production and her experience in the practicalities of creating virtual reality. She has been working as Executive Producer and General Manager at The Pulse for the last three years, where she has completed nine VR and 360° format projects in the last year, with more coming up.

Tracey started working in large screen, interactive experiential projects at Spinifex Group, where she spent seven years before heading off to work at David Atkins Enterprises, a company of directors and designers led creatively by music-theatre director, choreographer and producer David Atkins. DAE works with choreographers, writers and all types of visual content producers to create live productions for events, such as opening ceremonies, corporate and theatrical shows.

It was at DAE that Tracey learned to bring together the skills, resources and teams needed for such productions, and how to develop a pipeline. During this time, she used The Pulse – then called Digital Pulse - as a resource for some of the largest projects, finding they had the right blend of technical and creative expertise to deliver the often challenging content required for large scale experiences.

An opportunity to join Digital Pulse as Executive Producer arose, an exciting role that included helping them shift focus from mainly an experiential production company to the immersive content specialists they are now, with a name change to The Pulse. She said, “One of the company’s specialties is the ability to incorporate story into their projects. Keeping story as the driver for every step of each production has proven to be quite a challenge, but it gives projects a more focused motivation and prevents them from simply becoming a spectacular technical exercise.”

Tracey has completed nine VR/360 projects at The Pulse in the last year with more in the pipeline. Not only is each one is different, but the tools required to build them continue to change which, in turn, yields a different result. For example, among the team’s last four projects, one involved live action production composited on CG and incorporated motion graphics, one was a live action drama, another was a voyeuristic POV story, and one was rendered out in the Unity game engine, involving the haptic feedback on the latest HTC Vive headset – that is, using the hand held controls.

With this project-based experience behind her, Tracey will be speaking at AEAF about VR and experiential production, emphasising the practical side of creating virtual reality rather than the conceptual possibilities. Planning is crucial, she says. Digital Pulse takes a wireframe approach – first visualizing proposed functions, structure and content, and separating the graphic elements from the functional elements to anticipate how users will interact.

Because VR stories by definition involve you, the user, the choice of point-of-view is also critical, and changing it will change the concept substantially. Who are YOU? How are you expected to react - as a passive observer or one who drives the action?

At this time, The Pulse is producing an in-house VR project aimed at the new festival markets, to stretch and develop their skills and demonstrate what they are capable of in terms of techniques and the equipment they can develop stories for. Tracey feels the future of VR will continue to be strongest for gaming and entertainment and that ‘mixed reality’ productions will become the basis for education and training in the future.