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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.


AEAF Awards has received some exciting new entries in categories including VR/360, Film and TV Titles, TV Series and more. Read about them here and do not delay in entering your team’s work.

AEAF Entries Expand with Top VR, Titles and TV Series Projects

AEAF entry news2 march2017

AEAF Awards has received some exciting new entries in categories including VR/360, Film and TV Titles, TV Series and more. Read about them here and do not delay in entering your team’s work. Find entry forms and all information here.

Narrator virtual production company in Los Angeles created behind-the-scenes content for Warner Bros ‘All Access’ app for fans of the new movie ‘Fantastic Beasts and Where to Find Them’. The Narrator production team employed a GoPro 360° rig on the film set. Their graphics team then designed an immersive virtual reality experience using 360° editing software. This process involved stitching multiple equi-rectangular wide-angle shots together to form a single, continuous environment. The final, complete environment and experience result from many hours of detailed, manual work by Narrator’s compositors and graphic designers.



They proceeded through this process to produce a campaign of five 360° videos viewable on both Oculus and Samsung Vive headsets. All five can be viewed online at Jaunt VR or  Vimeo password aeaf or download the Jaunt VR app to view the series on a smartphone.  

Blue-bolt in London have applied their invisible expertise to over 550 shots for FX/Scott Free on the TV series ‘Taboo’, led by actor Tom Hardy who was co-producer and took the lead role. The team at BlueBolt created CG period London, which features continuously through all eight episodes, enhancing and extending what was built by the Production Design team. Docks and harbours were filled with period cargo ships, and views along the Thames were replaced with digital matte paintings and historically accurate CG buildings and towers, all providing a powerful backdrop for the gritty drama. Tools were Maya and Arnold for 3D work and effects, Nuke for 2D compositing and Photoshop for the matte paintings. The show aired in 2017 on BBC One and on the FX network in the USA. Click here for the show’s terrific VFX breakdown.

AEAF entry news3 march2017

AEAF entry news4 march2017

Sarofsky in Chicago entered three of their beautiful main titles projects – two for Marvel films, ‘Captain America: Civil War’ and ‘Doctor Strange’, and one for the TV series ‘Animal Kingdom’. For ‘Doctor Strange’, the studio delivered a rendered 2D and stereoscopic main-on-end title sequence. The artists designed a series of animated mandalas, geometric patterns representing the cosmos, to look like gemstones and weathered gold that connected to the story’s themes of repetition and symmetry.

The studio’s main challenge was defining how detailed the mandalas should be. “As lined artwork, the mandalas looked beautiful when very complex,” said CG supervisor John Filipkowski. “But when creating them in 3D, the complexity became very heavy, and at some points almost unmanageable, especially when we attempted to move around the viewport. By using the instancing clones and Xrefs in Cinema 4D, we could continue to evolve the scenes, camera work and animation explorations without waiting for the computer to catch up. We could also use custom procedural shaders to give the gemstones and gold imagery a photorealistic feel, as though they were all textured individually.”

AEAF entry news march2017

‘Doctor Strange’ is the fifth feature film title project that Sarofsky has worked on for Marvel. Not long before, they completed titles for ‘Captain America: Civil War’, particularly challenging project for them because it was one of their first projects requiring photoreal CG and feature film visual effects. Inspired by a critical scene in the film, our main-on-end titles explore a cracking and breaking concrete environment. Appearing immediately after the film's final scene fades to black, viewers see a debris-laden surface where the first titles are revealed, strongly lit from five angles with spotlights. In this initial frame, even the stones and other objects cast long, dramatic shadows. But in a subtle design surprise, when the second title appears, viewers notice that the shadows cast by the words take on a life of their own, assuming forms that are easily recognized by fans of Marvel and Captain America.

AEAF entry news5 march2017

Sarofsky also created the title sequence for US crime drama ‘Animal Kingdom’. Specialised photography, a dynamic design and visual effects are used to reveal the show’s dark story. The team had only 60 seconds to visualise the family’s story and relationships. Macro photography of a tattoo artist at work – recalling the mother’s distinctive tattoo – is intercut with fragmented scenes that take viewers through her sons’ childhoods and into their harsher adult lives. Visual transitions are achieved with abrupt, stuttering visual effects and shifting on-screen type, expressing toughness and tension. Like a memory, the narrative is non-linear. You can read a complete article about these titles on Digital Media World, here.