AEAF Awards 2017
Entries are judged on technical skill and artistry in visual effects and animation, and their contribution to storytelling.Visual effects, animation, or both, should form a significant component within the projects submitted.Emphasis is on the practice and effectiveness of visual effects and animation, irrespective of tools, size of team and budget.
Rob is a two-time Oscar nominee for his animation work on Star Wars: Episode I – The Phantom Menace and Star Wars: Episode II – Attack of the Clones and has been nominated for two BAFTA Awards for his work on Men in Black and Star Wars: The Phantom Menace.
Prior to Animal Logic, Coleman spent 14 years at Industrial Light & Magic and Lucasfilm Animation, working closely with George Lucas. He was chosen as one of the most creative people in the entertainment industry when he was added to Entertainment Weekly's 'It List' in 2002 as their 'It CG-Creature Crafter' for his work on digital Yoda. Most recently Rob was the Head of Animation on The LEGO® Movie. Rob is currently working on both LEGO® Batman and Ninjago.
Stuart Bullen is a VFX Supervisor at BlueBolt, a boutique facility in London, UK, working across Hollywood & British studio and independent films and television.
After studying Graphic Design Stuart joined the industry as a runner, by 2005 he was at The Moving Picture Company as a 2D artist. He progressed up through the team as a Compositor and worked on the Harry Potter films, Quantum of Solace and HBO’s Rome among others, as well as cutting his teeth on music videos and commercials.
Stuart joined BlueBolt at its conception 6 years ago and is now one of their main VFX Supervisors. To date he has supervised Mandela: Long Walk to Freedom, The Imitation Game and The Man from UNCLE, both on set and leading a team in-house. He is currently supervising the shoot of historical drama series The Last Kingdom for Carnival, due out in the UK & US in Autumn 2015.
Benjamin Richards has been interested in digital media and storytelling since the early ‘90s when he began working with early 3D software, resulting in an award winning animated short. Since then, he has been involved in nearly all aspects of film and TV production, establishing himself through his work in visual effects and documentaries. He worked with Autodesk for 7 years as a technical specialist, living and travelling across the Asia Pacific, Europe, Africa and North America, working with Weta Digital, Pixar and Lucasfilm on feature films such as Avatar, Lord of The Rings, Star Wars & The Incredibles and games studios such as EA, Ubisoft and Sony on AAA game titles, as well as with their developer partners. Benjamin is interested in the future of entertainment and the possibilities new techniques and formats such as AR and VR enable. Now as Director of Creative Development & Innovation for Cutting Edge, he is helping to lead a new era of storytelling.
Rick has been a passionate advocate and advisor to the animation and VFX industries for two decades. With a long history of managing software such as Autodesk Mudbox, Softimage, Painter, and the 3ds Max and Maya Entertainment Creation Suites, Rick has been in the service of artists and other creative professionals his entire career.
Working closely with customers and industry partners, Rick currently guides HP’s strategy and development within all Media & Entertainment sub-segments including Film, TV, Broadcast, Professional Video, Animation, Games, Advertising, Audio and VR/AR.
Rick spends much of his personal time in his own technological and creative pursuits.
Katie's production career spans the globe, and more than a decade. Beginning in Melbourne in 2002, Katie has hung her hat at some of the world’s top animation and VFX houses, both locally and in London. Having graced the Passion home office for almost ten years, she’s led major projects for brands like Audi, Adidas, Burberry and Coca-Cola and worked closely with agencies including VCCP Sydney, Wieden+Kennedy London, Goodby, Silverstein & Partners San Francisco, BBDO New York, BBH London and Mother London.
Since returning to her homeland in 2015 to open the Antipodean chapter of PP, Katie has balanced Passion Melbourne’s commercials focus with altruistic and art-based pursuits, including a showcase of the (additional) aesthetic prowess of Passion’s global directors, and ‘Namaste for Nepal’ a film created for DDB Sydney’s charitable initiative.
Creative Director + Partner
Resin was established in 2006 by Grant Lovering and Lincoln Wogan. The studio has collaborated with the world's leading agencies and production companies helping produce work for brands including Disney XD, Electronic Arts, Braun, Lennox, Mitsubishi, Bridgestone, Michellin, Yalumba, Jacob's Creek, News Limited, SA Tourism, SA Lotteries, Great Southern Rail, Motor Accident Commission and People's Choice Credit Union. We have worked on a number of feature films including Where the Wild Things Are, Rogue, Forbidden Lies and over 130 VFX shots for the Australian film, Red Dog.
Emily is the Founding Director of Visual Playground, an award-winning Australian production company in Melbourne.
Visual Playground prides itself on being a full service production studio. With a passion for design, knowledge in the latest technology and trends and expertise in animation, vfx and on-set production, VP is a collection of passionate artists who enjoy working together as a team.
Emily began her stint in broadcast as a graphic designer and courtroom artist for Channel 9 Melbourne. She then established VP in 2002 and now has 13 years experience in leading her team as Creative Director. Emily has built an outstanding reputation in broadcasting branding for top rating Australian TV shows such as The Voice Australia, Australia’s Next Top Model, MasterChef Australia and Neighbours, just to name a few.
Building on the broadcast background, VP has evolved to attract agencies and brands alike and has developed the creative pool to produce high-end Television commercials, visual effect shots and now creates a wide range of visual content. VP has done work for the likes of Mazda, The Australian Airshow, Honda, Zoos Victoria, Etihad Stadium, CFA and Myer.
As the industry progresses with new technology, there is a need for a people that are innovative with fresh ideas and the know-how that are bold enough to stand at the forefront of this constantly changing business. Emily prides herself on not only being brave when it comes to making creative decisions, but also in leading a team that is always one step ahead.
Editor, Digital Media World
AEAF Festival Director
Publisher, Digital Media World
CEO Uncharted Territory
Marc is an Emmy-award winning producer and visual effects supervisor. Marc is currently CEO of production company Uncharted Territory, founded in 1999 with business partner Volker Engel. He was Executive Producer and VFX supervisor on 'Anonymous', and Co-Producer and VFX supervisor on '2012'. In between producing feature and TV films, Uncharted Territory, with Marc Weigert as visual effects producer and/or supervisor, also provided visual effects services for 'The Day After Tomorrow' (2004) and the 'Intermedia' - title for 'Terminator 3' (2003).
Marc won a Satellite award for the visual effects for '2012' and an Emmy award for the mini-series 'The Triangle'. He also worked as on-set VFX Supervisor for several commercials for companies including Canon, Tropicana, Ferrero Rocher and Kellogg's, and TV movies ('For One More Day').
Before Uncharted Territory, Marc was CEO for visual effects company Dreamscape Imagery, whose credits include 'Independence Day', 'Muppets From Space', 'Flubber', 'The Drew Carey Show' and many TV movies and series.
As the VFX Project Manager for 'Independence Day', Weigert created 'Digital Assistant for Visual Effects', a project management software program to manage, schedule and track the shooting and post production of thousands of VFX elements. His software has subsequently been sold to several major studios, including 20th century fox, the Walt Disney company and Sony Pictures.
Weigert has lectured at European Digital Arts Media seminars at High Tech Centre Babelsberg, and conducted the European Film Academy Visual Effects Master Class 'Action with Effects' for producers and directors. He has also taught visual effects classes at The Art Institute of Los Angeles, was a speaker at the iHollywood Forum in Los Angeles and lectured at Salzburg University of Applied Sciences.
Visual Effects Supervisor
Jupiter Ascending (2015) and Oblivion (2013)
Star Trek Into Darkness (2013)
Simon Carr is a VFX Supervisor with over twenty years' experience of film and TV VFX, having widespread experience from pre-production, through the shoot and into post for features and long-form TV drama. Having cut his teeth as a compositor on projects such as 'Face/Off', 'Seven Years in Tibet', 'Lost in Space' and 'The Beach', Simon first moved into Supervision on the BBC reboot of 'Auf Widersehen, Pet' overseeing shoot and post, and spending the following decade or so supervising the VFX on independent features and large scale TV drama on projects as diverse as 'Return to Cranford' and 'Mutant Chronicles'.
Since 2010, Simon has focussed on facility work, initially with Reliance London, in partnership with Digital Domain; then a short stint delivering 'Oblivion' and 'Star Trek Into Darkness' with Pixomondo London; before finding his current home at Method Studios London, where he has been for the last two years, over-seeing work on 'Into the Storm', 'Monuments Men', ' Jupiter Ascending', 'Exodus: Gods and Kings' and 'Avengers: Age of Ultron'. He is currently working on 'Geostorm', directed by Dean Devlin.
Simon brings a wealth of experience to his teams' creative approaches, and most enjoys his work when the VFX can be shown to enhance and support the story of the film.