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aeaf 2017 entries

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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.


New entries into AEAF Awards are accelerating rapidly with more Commercials and TV Series projects coming from the US, NZ, the UK and Australia. Now is a great time to enter your work.

AEAF Awards Attract Stellar Animation, CG Work and Stories

Passion rio

New entries into AEAF Awards are accelerating rapidly with more Commercials and TV Series projects coming from the US, New Zealand, the UK and Australia. Now is a great time to enter your work and get it posted on the Online Festival pages of the website. Entering is easy - visit the This email address is being protected from spambots. You need JavaScript enabled to view it. page and contact us with any questions.  

Passion Pictures’ five wildly diverse Commercials Animation entries take you from athletic Brazilian beasts in the jungle preparing for the Rio Olympic Games, to warm Christmas stories. An eye-catching 3-minute, 2D animation about sustainable fashion is both informative and addictive to watch as the graphics morph between ideas. ‘Megacity’ is a photoreal 3D animation with beautiful lights, camera and a story without dialogue. You can see them all from links on this page.

Passion megacity

Resin Hunts the Hunters

Resin has submitted their work as the sole visual effects vendor for ‘Hunters’, a 13 episode series for NBC Universal's SyFy channel launched in the US in 2016. The team produced over 800 visual effects shots for the series, which included producing a number of digital assets, and were responsible for the creative development of several signature effects for the series that visualize the nature of the story’s aliens, the Hunters.

Resin designed and developed the visual representation of the sonic weapons the show’s aliens use, with explosions and other effects showing the pain they inflict. Other alien device effects include adding photo-realistic needles to the native Hunters DNA extractor. Red Mist was among the series’ signature effect. Resin developed several techniques to augment practical smoke and in some cases developed a CG simulation giving the Red Mist a sentient quality as it engulfs characters. Their look for 'Hunter Vision' was created to produce a cellular quality.

Resin hunters

Resin was tasked with augmenting several shots that used practical models and animatronics. For example, VFX work on an alien baby included adding and opening eyes, breathing, heart beats, temple pulses for sonic hearing, and mouth and nose movements.

Resin handled over 100 green screen shots of varying complexity, often dealing with low light plates and screens constructed from multiple sources. Resin created a completely CG prison loosely based on a real prison and then adapted to match its Turkish location. The shot was constructed from only a live action plate of the actor in the window. The end shot pulled out wide to reveal the setting of the prison for the first time in an entirely CG shot.

Resin hunters1

Resin hunters4


Several shots involved VFX work using a CG rocketship asset and scaffold structure, combined with live action plates containing actors – for example, outside plates as it was being prepared for its launch. Composited shots of the hangar were complex, made from many overlapping passes. Resin also designed motion graphic HUD and graphic overlays for several different applications.

Shots of the Native Hunters were a creative challenge. With only a green screen plate of a Native Hunter in the foreground, a completely CG shot was produced for a flashback sequence set on the Hunter's Homeworld and helping explain how they made their way to earth. The mothership in the low hanging atmosphere and pods streaming from the alien terrains are all CG.

Resin hunters7

Resin hunters8

Other completely CG shots, up in the atmosphere, reveal the Mothership undergoing attack as a revolt unfolded, and CG Pods fleeing toward earth. On the show’s set, Resin also supervised a shot of a tunnel full of Native Hunters - with only two practical Native Hunter suits to work with. Their final view was built from around 50 different compositing passes.

Grim character effects were required, ranging from blood augmentation to a series of shots in which a head melts, needing composites built from various static passes and CG augmentation. The Hunter’s silver blood was created in CG and added to characters with a high frequency vibration and stretching of skin.

Resin hunters5

Across the series were many environmental shots for which Resin provided matte painting work to transform the locations. One was based on a crane shot of snowy mountain peaks they received, needing foreground clean up and extension of grasses, additional snow and atmosphere.

Cirkus Plays Pinball

Don’t miss Cirkusalmost-stop-motion spot, a great surprise made for a commission from Six Toes and TBWA\Singapore to conjure up the greatest pinball machine on earth for Standard Chartered Bank. Aiming to convey that with SCB’s newest credit card, unlimited cashbacks can be enjoyed. The pinball hits and activates varying amounts of cashback on travel, shopping and dining purchases and gathers points before the targets reset and get ready to play again.

Cirkus sc3

Cirkus sc

But the key challenge for Cirkus was ‘How would a craftsman design and build this gadget?’ They were limited by a 4 week production turnaround and so decided to create this contraption in 3D in May with After Effects. Figuring out how to make it not shiny but real, required a lot of attention during look development. From the beginning, the illustration team determined the machine’s layout, mechanisms and design. Then, by approaching the project from this point of view, 3D modelling was minimized and, most important, ensured viewers can see the human hand present in this labour of love. 

Narrator’s 360 Videos Now Online

Please note that you can now view the 360 videos for Narrator’s behind-the-scenes content for Warner Bros’ app called ‘All Access’ – announced as a VR/360 entrant in March. Narrator took a GoPro 360° rig onto the set of ‘Fantastic Beasts and Where to Find Them’, capturing the actors and unscripted material. Their graphics team then designed an immersive virtual reality experience via 360° editing.

This process involved stitching multiple equirectangular, wide-angle shots together to form a single environment. The final, continuous imagery results from hours of detailed work by Narrator’s compositors and graphic designers. Much of this part of 360 and VR projects must still be done manually and differently for each production, depending on many factors. The campaign of 360° videos is downloadable and viewable on Oculus and Samsung Vive headsets.