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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.

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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

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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.


VFX Supervisor Simon Maddison talks about some of the changes Simon maddison aeaf2a
and challenges he’s experienced in his 20 year VFX career, and
gets ready to present his latest VR project at AEAF.

VFX Supervisor Simon Maddison Brings VR Perspective to AEAF

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With more than 20 years of experience as a VFX Supervisor on projects from commercials to feature films, and as co-founder of Fuel VFX, Simon Maddison at Cutting Edge has reached a high level of expertise. He continues to expand his approach to creating computer-generated visuals and photorealistic character and FX animation and is now applying that CG expertise to Virtual Reality. At AEAF, Simon and Aevar Bjarnason, CG and VR lead at Cutting Edge, will discuss their latest VR project, a virtual ride through an environment of liquid, millions of reflective blocks and dazzling crystal simulations.

Anything is Possible

He is excited about VR as a new format and technique for reaching audiences, not least because so much about the VR medium is still undiscovered - both how to produce VR projects, and the applications for using it. “The talk I’d give today about this project and creating in the VR format would be quite different to the one I’ll give in August … We are still learning,” he said.

With the perspective his experience gives him, VFX supervisor Simon Maddison talked to us about some of the changes he has witnessed over the years as a visual effects artist. “Artists’ ability to create polished, beautiful, entertaining work has grown, and consequently the expectations of producers have also grown to the point where some seem to believe almost anything is possible,” he said.

AEAF Schedule

Speaker Program
10am  - 5pm 16 August
10am - 5pm 17 August

AEAF Awards
Cocktail Reception 6pm 17 August
AEAF Awards Screening 7:30 - 9pm
After Awards drinks and networking

Venue and Registration

Full two day Speaker program and AEAF Awards Screening Early Bird price $195 inc gst AEAF Awards Screening only $35 BOOK NOW

For queries or special requests including group discounts please call or email us.This email address is being protected from spambots. You need JavaScript enabled to view it.Tel 02 9332 2822

Simon maddison aeaf3

“On the other hand, filmmakers especially are more educated about what they want to see in their films and have learned to shop around among vendors for the necessary skills. Therefore it’s important for studios to sell themselves accurately and avoid overselling or underselling their abilities.

Tools and Software

In his view, even when they are spectacular, the role of visual effects remains rooted in the need to solve production issues. A VFX supervisor and team can help a production balance the desire to fix problems in post – instead of on set - against the value of capturing a scene as far as possible in camera. Replacing, augmenting and extending locations, or removing unwanted items appearing in frame, are some of the original uses of visual effects and are still a part of most jobs.

During his career, one of the first software developments he witnessed that has made the most difference to VFX artists in terms of speed and scope of what can be achieved is automatic tracking software. Another major change came when photostitching techniques were developed to produce 3D geometry, like those used in Agisoft Photoscan.

Simon maddison aeaf

Modelling software has expanded to applications using and controlling procedural modelling, and others like ZBrush and Mudbox with freehand modelling tools. The speed of screen rendering has also increased to the point where artists can generate many more iterations in less time than they could before – a change that has significantly improved quality.

The New VFX Artist

The way VFX artists work now is different, too. Previously, studios cultivated artists who were generalists that could take on a number of different roles depending on the project. “But now, movie and show projects are so big that productions are going for specialisation when they plan for visual effects. They are looking for specialised teams and artists who can focus on a defined task and complete it to meet the standards required by the next team along in the workflow, following a precise pipeline. Individual artists need to be project-aware, but able to focus completely on their specialisation.”

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A result of that, Simon believes, is a more transient workforce of people who go where their particular skills are in demand. That may mean that over time, the work coming out of each studio may be less differentiated, but there is a desire to avoid re-inventing processes. People have been sharing pipeline knowledge as the industry matures, and identifying ‘best’ ways to do certain tasks that make working together and moving or sharing assets between vendors, much more effective.

He also said, “I see VR, which people have already been experimenting with and visualising for quite a few years, developing in an unusual way now, more as a convergence of existing tools and disciplines originally developed for other purposes – cameras, rigs, software, TV – than something completely new. Even the output can be consumed and used in extremely different ways, as entertainment, communication, a tool within another task, for research. I think we still have some way to go before we catch up with its potential.”