SPARK CG SOCIETY_ Presents
PROGRAM GUIDE
January 30 – February 3, 2013
Vancouver International Film Centre
1181 Seymour Street
Vancouver, Canada
Message from the Conference Chair
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Thank You
AWESOME Sponsors!
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On behalf of the SPARK CG Society, in partnership with the Vancouver International Film
Centre, the Visual Effects Society-Vancouver Section, and Vancouver ACM SIGGRAPH,
we welcome you to the SPARK FX ’13 Conference and Festival. This event, along with its
sister, SPARK Animation, held last September, completes the successful return of SPARK
to the Vancouver community.
I came to Vancouver eight years ago and watched a phenomenal growth in our creative
industries. The evolution of this community goes hand and hand with the mission of
SPARK. The team behind SPARK is pleased to provide this community with programs
that share ideas and knowledge, celebrates the amazing art we create, provides a place
to mingle with peers and colleagues, and is an important source of inspiration and
education.
An event like SPARK FX does not magically come together, so special thanks are in order.
First, to all our sponsors, both private and government, who’s generosity demonstrates
their commitment to our creative industry. Second, to Sauching Ng and all the volunteers,
who give so freely of themselves to make this event a success. And finally, to Sly
Provencher, the driving force behind SPARK. Without all three, there would be no SPARK.
We thank you for coming and supporting SPARK. Now go mingle…
Dennis Hoffman
Conference Chair, Spark FX ’13
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Conference
Friday · February 1, 2013
09:00 AM
The Hobbit: Sampling the Real to Create the Digital
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11:00 AM
The Making of Life of Pi: Above All... It’s Important Not to Lose Hope
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01:00 PM
Creating the Impossible: “Bending” the Laws of Physics to Tell the Story
13
03:00 PM
Halo 4: The VFX of Forward Unto Dawn
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05:00 PM
Prometheus: Engineering Alien Worlds
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Saturday · February 2, 2013
09:00 AM
Wreck-it Ralph: Wrecking & Rocking the Worlds of Look, Lighting & EFX, Ralph Style
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11:00 AM
The Reality Behind the Illusion: The Business of VFX
25
01:00 PM
Life of Pi: Riding Out the Storm
27
03:00 PM
Calling the Shots: The Journey From VFX Supervisor to Director
31
05:00 PM
The Art of Illusion: Merging the Imagined & the Real
35
07:30 PM
VFX of The Hobbit: Fantastical Creatures & Lands of Epic Beauty & Darkness (industry mixer included)
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09:30 PM
Closing Industry Mixer (free beer, wine, beverages, snacks) — tickets available for $15
Friday // February 1, 2013 // 9:00 AM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
“The Hobbit: An Unexpected Journey” © 2012 · New Line Productions, Inc. All rights reserved.
The Hobbit:
Sampling the Real to Create the Digital
Textures Supervisor and Creative Art Director Gino Acevedo will
discuss how Weta Digital was able to get the incredible textures
and unique design looks for the creatures and environments of
the Hobbit. Gino’s background in practical effects has given him
a unique perspective and helped him pioneer new techniques
like skin scans for creating extraordinarily detailed and realistic
textures. He will talk about how these were put to the test on
The Hobbit’s vast range of creatures, digital doubles and key
environments.
Gino Acevedo
Textures Supervisor, Creative Art Director
Weta Digital
Gino Acevedo joined Weta Workshop to supervise the special
makeup effects of the creatures in The Lord of the Rings.
During the filming, Weta Digital asked Gino to help create the
digital Gollum.
Gino became the Art Director for the digital creatures and the
liaison between Weta Workshop and Weta Digital. This allows a
continuous design vision, from initial illustrative designs through
to the final digital effects.
As Creature Art Director on Avatar, Gino oversaw the Weta
Digital texture artists. They created techniques of “life casting”,
to achieve lifelike details such as minute skin pores on the
digital models.
Gino recently completed work on The Hobbit: An Unexpected
Journey.
www.wetafx.co.nz
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Friday // February 1, 2013 // 11:00 AM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
“Life of Pi” © 2012 · Twentieth Century Fox Film Corporation. All rights reserved.
The Making of Life of Pi:
Above All... It’s Important Not to Lose Hope
Erik-Jan de Boer started working on Life of Pi in late 2010.
Over the course of the next two-plus years, he helped create
the ‘unfilmable’ with his team of animators at Rhythm &
Hues. Together, they succeeded in creating a convincing and
naturalistic performance of a tiger that shares long periods
of screen time with a live-action actor. This achievement has
garnered a 2013 Oscar® nomination for Best Visual Effects.
Erik-Jan will present some never-before-shown materials and
some fun ‘making-of’ clips. Very few VFX artists can claim to
have survived so long, and none in the company of an adult
Bengal tiger.
Erik-Jan de Boer
Animation Director
Rhythm & Hues Studios
Rhythm & Hues Animation Director
Erik-Jan de Boer has more than 23 years
of experience in animation, graphics and
special effects for commercials, feature films and theme park rides.
He recently directed the character animation for Ang Lee’s Oscar®
nominated adaptation of Life of Pi.
Starting at London’s Moving Picture Company in 1989, Erik-Jan
later became head of 3D animation and special effects at Rushes
Plc, where he was responsible for the artistic and commercial
success of spots for Ford, the BBC, Reebok, Phillips and the US
Marine Corps.
Joining R&H in 1996, Erik-Jan’s credits include Academy Award®
VFX winner The Golden Compass, and VFX Oscar® nominee The
Chronicles of Narnia: The Lion, the Witch & the Wardrobe, and
numerous other projects. Born in Amsterdam, Erik-Jan holds a
Masters Degree in Image Synthesis and Computer Animation from
Middlesex University, England and a Bachelor in Image and Media
Technology from Utrecht School of the Arts.
www.rhythm.com
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“The Dark Knight Rises” © 2012 · Warner Bros. All rights reserved.
All pictures, images, films and other copyrighted works are the property of their respective owners.
Friday // February 1, 2013 // 1:00 PM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
Ian Hunter
Creating the Impossible: “Bending” the Laws of
Physics to Tell the Story
Join Visual Effects Supervisor Ian Hunter as he explains how to
create spectacular story-driven effects. Using examples from
The Dark Knight, Inception, and The Dark Knight Rises, Ian will
show how challenging, complex, and physically demanding
shots and scenes get dissected and solved through the use of
innovative and simple processes. This presentation will provide
attendees with insights on how the latest digital technologies
support and enhance some of the most effective and timehonoured practical and photographic techniques, resulting in
effects that manage to be both believable and mind-blowing.
Co-Founder, VFX Supervisor
New Deal Studios
Ian Hunter is a creative director and
co-founder of New Deal Studios in Los
Angeles.
As a visual effects supervisor and art director for over 20
years on films and commercials, Ian has overseen the creation
of effects sequences including previs, miniatures and sets,
photography, matte paintings, digital animation and compositing,
including work for the Christopher Nolan projects The Dark Knight,
Inception, and The Dark Knight Rises.
Other New Deal Studios credits include The Avengers, Pitch
Black, The X-Files Movie, End of Days, T3: Rise of the Machines,
X-Men 3: The Last Stand, Watchmen, Night at the Museum,
Whiteout, and Pirates of the Caribbean: On Stranger Tides.
Ian is a member of the Academy of Motion Picture Arts and
Sciences and The Visual Effects Society.
www.newdealstudios.com
@ianmachunter
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Friday // February 1, 2013 // 3:00 PM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
“Halo 4: Forward Unto Dawn © 2012 · Microsoft Corporation. All rights reserved.
Halo 4: The VFX of
Forward Unto Dawn
Visual Effects Supervisor and Producer,
John E. Sullivan will pro-vide an overview
of the process and challenge of creating
quality visual effects for the web
series Halo 4: Forward Unto Dawn. This
groundbreaking digital production tells
an exciting story of heroism and sacrifice
on a scale never before seen in the
“Halo” universe, taking fans back to the
beginning of the human and Covenant
war, and leading into the events of the
game “Halo 4.”
John E. Sullivan
VFX Supervisor
John E. Sullivan is an Emmy® awardwinning VFX Supervisor who started
his motion picture career at the Howard
Anderson Company while studying cinema
at the University of Southern California.
He worked at
Apogee for twelve
years starting out
as a photographic
effects camera
person and motion
control camera
operator and eventually became a director
of photography. After Apogee, John
started working as a VFX Supervisor at
many of the major studios including Sony,
Walt Disney, Warner Bros., Buena Vista,
MGM, New Line, Fox, and DreamWorks on
many features including, Last Action Hero,
Die Hard With A Vengeance, Eraser, and
Collateral. In 2010, John received an Emmy
for “Outstanding Special Visual Effects
for a Miniseries, Movie or a Special” while
working as a VFX Supervisor on the HBO
television series The Pacific. John recently
completed work supervising the visual
effects for the groundbreaking digital
series Halo 4: Forward Unto Dawn.
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Friday // February 1, 2013 // 5:00 PM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
Matt Middleton
“Prometheus © 2012 · Twentieth Century Fox Film Corporation. All rights reserved.
CG Supervisor
MPC Vancouver
Prometheus: Engineering Alien Worlds
MPC CG Supervisor Matt Middleton will present an overview
of approaches taken for MPC’s Academy Award® nominated
work on Ridley Scott ’s Prometheus, with a focus on the
build of the Prometheus Ship, the Juggernaut ship and the
Alien Planet LV-223.
Matt Middleton is CG Supervisor at MPC
Vancouver with 10 years experience in
visual effects.
After studying Computer Visualisation and Animation at
Bournemouth University, Matt began his career in 2003 working
at Hourglass Studios as a digital effects artist on the Jim Henson
Pictures movie Mirror Mask.
In 2005, Matt joined MPC to work on The Da Vinci Code and
Golden Age. Matt’s talents as an artist were quickly recognized
and between 2007 and 2009 Matt worked on a number of high
profile movies as sequence supervisor / Lookdev lead including
Wolfman, The Chronicles of Narnia: Prince Caspian and Watchmen.
In 2009, Matt accepted the role of CG Supervisor working on
Prince of Persia, followed by Harry Potter & the Deathly Hallows:
Part 1 and most recently Ridley Scott’s Prometheus.
Matt is currently CG Supervisor on The Lone Ranger.
www.moving-picture.com
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MPC takes you behind the scenes of their Academy Award nominated work
for Ridley Scott’s Prometheus and Ang Lee’s Life of Pi at this year’s SparkFX.
Saturday // February 2, 2013 // 9:00 AM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
Brian Leach
Associate Director of Look & Lighting
Walt Disney Animation Studios
“Wreck-It Ralph” © 2012 · Disney. All rights reserved.
Wreck-it Ralph: Wrecking & Rocking the Worlds of
Look, Lighting & EFX, Ralph Style
Associate Director of Look and Lighting Brian Leach and Effects
Supervisor Cesar Velazquez share the artistic and technical skills
required to overcome the challenge of creating distinctive looks
for the numerous worlds featured in the film Wreck-It Ralph —
including the 8-bit world of “Fix-it Felix Jr.”, the first-person action
game “Hero’s Duty”, and the candy-coated cart racing game
“Sugar Rush”. Brian will reveal the research and development that
went into creating the “look” of these three worlds including the
cinematography board, foundation lighting techniques, the use of
new material shaders, and the relationship between lighting and
layout. Cesar will cover the creation of the effects element for
the video game worlds and the stylistic rules for each, including
the use of traditional hand drawn technique in their pipeline. Join
them in this entertaining talk on how they helped create these
unique worlds and the unexpected discoveries along the way.
Brian Leach received a degree in
photography with a minor in fine art from
Art Center in Pasadena. Upon graduation
in 1994, he launched his professional
career with a stint as a digital artist and compositor at the
award-winning effects house, Dream Quest Images. His first
assignment there was working on The Mask, and he went on
to contribute to such other effects oriented films as Kundun,
Armageddon, and Inspector Gadget. This was followed by a
role as compositing supervisor on Sky Captain & the World
of Tomorrow, 2D sequence supervisor on X-Men 2: X-Men
United and senior technical director on Spider-Man 2 and The
Haunted Mansion. He served as compositing supervisor on
102 Dalmatians and Kangaroo Jack. In 2004, Brian joined Walt
Disney Animation Studios as a lighting artist and sequence
lead on the feature Chicken Little. His other Disney credits
include the role of sequence lead on Bolt, and lighting
supervisor roles on Prep & Landing: Naughty vs. Nice, Tangled,
and the short film Tick Tock Tale.
www.disneyanimation.com
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Cesar Velazquez
Effects Supervisor
Walt Disney Animation Studios
Cesar Velazquez began his career in 1995,
at Warner Bros. Imaging Technology
(WBIT), developing software for live-action
films including Eraser, Batman & Robin, and
Mars Attacks. Afterwards, he worked at Kodak’s Cinesite for the
next 2.5 years. In 1999, he joined Dream Quest Images (renamed
The Secret Lab after being acquired by Disney) and worked on
Mission to Mars, and Reign of Fire, among others. At Walt Disney
Animation Studios, Cesar has credits as an effects animator on
Chicken Little, Meet the Robinsons, Bolt, and Tangled. He worked
in a similar capacity on the 2008 animated short, Glago’s Guest.
Cesar attended the University of Michigan, where he graduated
with a BFA degree in 1993. In college, he made 3D shorts with
a small group of classmates and worked on independent film
projects involving computer art. His goal was to get into the
art side of production while finding ways to apply his technical
background. Cesar makes his debut as effects supervisor on Walt
Disney Animation Studios’ ambitious and visually stunning CG
comedy-adventure, Wreck-It Ralph.
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Saturday // February 2, 2013 // 11:00 AM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
Scott Ross
“The Curious Case of Benjamin Button” © 2008 · Paramount Pictures. All rights reserved.
All pictures, images, films and other copyrighted works are the property of their respective owners.
Co-founder, Digital Domain
The Reality Behind the Illusion:
The Business of VFX
Scott Ross, Founder and former CEO of Digital Domain, former
SVP of Lucas Arts Entertainment, and former General Manager
of ILM will comment on the current state of the visual
effects industry. This dynamic and charismatic executive will
provide an overview on the changes in visual effects since its
re-emergence in the 1970’s. Scott will address the problems
with the current visual effects business model, and the
impact rapidly changing technology has had on the business
side of the industry. He will also comment on the effects of
globalization, the value of tax incentives, and the role unions
should play in visual effects. These and many other issues
will be explored in this
timely and intimate
conversation between
two visual effects
veterans, Scott Ross &
SPARK FX Conference
Chair Dennis Hoffman.
Scott Ross has had a stellar career
as one of the most notable pioneers
in digital media and entertainment.
He founded, along with Hollywood
luminaries James Cameron and Stan
Winston, Digital Domain, one of the largest digital production
studios in the motion picture and advertising industries.
Under Scott’s direction, Digital Domain garnered multiple
Academy Award® nominations, receiving its first Oscar® for
the ground breaking visual effects in Titanic. That success
was followed by a second Oscar® for What Dreams May Come
and a third for The Curious Case of Benjamin Button. In 2006,
as Digital Domain’s CEO and Chairman, he successfully sold
Digital Domain to director Michael Bay and a group of private
equity investors.
Prior to forming Digital Domain, he led George Lucas’ vast
entertainment empire: running Industrial Light & Magic (ILM),
Skywalker Sound, Lucasfilm Commercial Productions, and
DroidWorks. Under his leadership, ILM won five Academy
Awards® for Best Visual Effects (Who Framed Roger Rabbit,
Innerspace, Terminator 2, The Abyss, Death Becomes Her).
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“Life of Pi” © 2012 · Twentieth Century Fox Film Corporation. All rights reserved.
Saturday // February 2, 2013 // 1:00 PM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
Life of Pi: Riding Out the Storm
Harry Mukhopadhyay
This presentation will break down a number of shots created by
the team at MPC for Ang Lee’s Life of Pi. CG Supervisor Harry
Mukhopadhyay and Lead Compositor Jose Fernandez de Castro
will reveal how complex VFX shots drove the live action shoot
and the creation of a spectacular digital hurricane for the Tsium
Tsum sinking and Storm of God Sequences.
CG Supervisor · MPC Vancouver
Harry joined MPC in 2006, as a digital
artist on 10,000 BC and The Chronicles
of Narnia: Prince Caspian. His skill as an
FX artist was quickly recognized and over
the next few years he worked as Lead
FX TD on movies including Harry Potter & the Half Blood Prince,
Surrogates and Percy Jackson & the Lightning Thief.
In 2010, Harry accepted the role of CG Supervisor for MPC’s
Vancouver studio working on Sucker Punch and Fast Five. Harry’s
expertise in FX came to hand a year later when he began work as
CG Supervisor on Ang Lee’s Life of Pi, working closely with MPC’s
VFX Supervisor Guillaume Rocheron to create the spectacular
Storm of God and Tsimtsum Sinking sequences.
Harry was originally born in Brazil and has a very technical
background holding degrees in Computer Science and Electrical
Engineering. Harry is currently MPC’s CG Supervisor on Gore
Verbinski’s The Lone Ranger.
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Jose Fernandez de Castro
Lead Compositor · MPC Vancouver
Jose Fernandez de Castro has over 10
years of visual effects compositing
experience in Mexico, London and Canada,
working on a number of high profile
movies including The Golden Compass, The
Curious Case of Benjamin Button, The Chronicles of Narnia: Prince
Caspian, and many more…
Jose joined MPC Vancouver in 2010, where he has worked as
a Lead Compositor and Nuke TD on multiple shows, such as
Suckerpunch, Fast Five, Source Code, Man of Steel and Life of Pi.
His emphasis as a Nuke TD and lead at MPC has been on the
development of tools and workflows that simplify the artists’
tasks and achieve each show’s specific technical and artistic
goals. In the case of Life of Pi, he lead the push to adopt deep
compositing as a viable solution to many of the technical
challenges that the film presented.
Jose is currently working as a Lead Compositor and Nuke TD on
Maleficent.
www.moving-picture.com
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Saturday // February 2, 2013 // 3:00 PM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
“Life of Pi” © 2012 · Twentieth Century Fox Film Corporation. All rights reserved.
Calling the Shots: The Journey From VFX
Supervisor to Director
What motivates a VFX supervisor to become a director? How
did they land their first directing gig? What did they learn as a
director? How has their VFX knowledge helped them in their
directorial debut? What would they do differently? These are a
few of the questions Eric Brevig and Hoyt Yeatman, two Academy
Award® winning VFX supervisors, will answer when they share
their experiences as directors on major motion pictures. They
will reveal what it felt like to arrive on set as a director and share
their thoughts on how they see the future for others who want
to make the transition from visual effects to directing.
become Warner Bros. live-action 2010 holiday hit. Both films have
generated sequels, which are continuing today. Prior to helming
Journey, Eric served as second unit director and VFX supervisor
on over 25 films, including Men in Black; Wild, Wild West; and The
Island. An expert in 3D filmmaking, Eric oversaw the photography
and visual effects for “Magic Journeys”, “Captain Eo”, and “Honey
I Shrunk the Audience” — all created for continuing exhibition at
Disney theme parks around the world.
Eric received an Academy Award® for Special Achievement in
Visual Effects for his ground-breaking work on Total Recall, and
he is the recipient of two more Oscars® nominations and a BAFTA
nomination.
Eric Brevig
Hoyt Yeatman
Director, VFX Supervisor
Director, Senior VFX Supervisor
Academy Award® winning VFX Supervisor
Eric Brevig made his directorial debut in
2008, with Journey to the Center of the
Earth 3D, the first live-action feature to
be shot and presented in digital 3-D. His
second feature film, Yogi Bear 3D, combined both live-action
digital 3D photography and stereo-rendered CG animation to
Academy Award® winning visual effects virtuoso, Hoyt Yeatman
has made a career of creating the technology and producing
the most complex and stunning practical and digital effects
for Hollywood’s most acclaimed filmmakers and studios. His
work has earned him an Oscar® for Best Achievement in Visual
Effects for his dramatic use of miniature and underwater blue
screen photography in the The Abyss and a Scientific & Technical
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Achievement award from the Academy for his contributions to
the invention of a new visual effects film stock, SFX 200T. He
co-founded Dream Quest Images, an Academy Award® winning
visual effects company that was purchased by Walt Disney
Studios, and supervised the visual effects on over a hundred
projects before making his feature film directorial debut on the
live-action animation hybrid film G-Force. Yeatman is currently
the Senior Visual Effects Supervisor on the highly anticipated
Bryan Singer film, Jack the Giant Slayer, utilizing the most
advanced ground-breaking technology in digital and stereo 3D
effects for this film.
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Saturday // February 2, 2013 // 5:00 pM // Vancity Theatre // 1181 Seymour Street // Admission: $20 (incl. taxes)
“The Age of Innocence“ © 1993 · Columbia Pictures. All Rights Reserved.
All pictures, images, films and other copyrighted works are the property of their respective owners.
Bill Taylor
VFX Supervisor, Cinematographer
The Art of Illusion:
Merging the Imagined & the Real
Visual effects is about creating an illusion and making it
seem real. While the images on the screen are imagined, the
bonds made behind the screen are real. Join Bill Taylor as
he shares his story on how he got into “the business”, the
influence mentors had on his career, and the importance
of collaborating well with others, especially in an industry
where “who you know” is as important as what you know. Bill
co-founded Illusion Arts, one of the most respected visual
effects specialist facility in the industry, with his colleague
VFX Supervisor/Matte Artist Syd Dutton. Over the company’s
26-year history, they provided thousands of VFX shots for
over 200 films and worked with many great talents. Bill
will share how he overcame challenges on the job and the
life-long connections made along the way.
Bill Taylor ASC is a Visual Effects
Supervisor/Cinematographer. He began
his visual effects career at the Ray
Mercer Co, an old-line title and optical house, before working
as a cameraman for long-time mentor and matte artist Albert
Whitlock at Universal Studios. After Whitlock’s retirement, Bill
and his matte artist colleague, Syd Dutton, founded Illusion Arts
Inc. where they supervised and executed the visual effects for
nearly 200 films, including Bruce Almighty and Casanova. His
recent credits as Visual Effects Supervisor include John Hillcoat’s
Lawless (2012), and Brandon Hess’ First in Flight (2012).
Bill co-authored with Petro Vlahos, chapters on blue and greenscreen compositing in both the “American Cinematographer
Manual” and the “Visual Effects Society Handbook”. Bill served
five terms as a Motion Picture Academy Governor representing
the Visual Effects Branch and Chairman of the Executive
Committee. He was also the founding co-chair of the Academy
Science and Technology Council (with Ray Feeney). Bill owes a
lifetime debt of thanks to three mentors, the late Lin Dunn ASC,
the late Albert Whitlock, and Petro Vlahos.
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Saturday // February 2, 2013 // 7:30 pM // Vancity Theatre // 1181 Seymour Street // Admission: $35 (incl. taxes) // INDUSTRY MIXER INCLUDED
“The Hobbit: An Unexpected Journey” © 2012 · New Line Productions, Inc. All rights reserved.
VFX of The Hobbit: Fantastical Creatures & Lands
of Epic Beauty & Darkness
5
Oscar® nominees Joe Letteri, Eric Saindon, David Clayton and
R. Christopher White will provide a detailed look at the visual
effects for The Hobbit. They will talk about the impact of
working in 48fps stereo and what that meant for the artists
across the facility. The team will also discuss the amazing
array of creatures in The Hobbit, including the rebuilding
of Gollum from the inside out, as well as the gloriously
disgusting Goblin King, trolls, eagles, Azog and more. The
presentation will also cover new tools developed during
the show before delving deeply into set extensions and CG
environments from Hobbiton and Rivendell, to the Goblin
Caverns and the many forests of Middle Earth.
Joe Letteri
Sr. VFX Supervisor
Joe Letteri’s pioneering work on digital
visual effects has earned him four Academy
Awards® for Best Visual Effects on Avatar,
Lord of the Rings: The Two Towers, Lord of
the Rings: The Return of the King and King Kong. He has also received
the Academy’s Technical Achievement Award for co-developing the
subsurface scattering technique that brought Gollum to life.
Joe joined Weta Digital as Visual Effects Supervisor on The Two
Towers and over the last eleven years he has led Weta Digital to
become one of the worlds premiere visual effects studios.
Joe has developed many techniques that have become standards for
bringing photographic quality to digital visual effects. He specializes
in the creation of compellingly realistic creatures, from the dinosaurs
of Jurassic Park, to Gollum in Lord of the Rings, the 25ft gorilla in King
Kong, the Na’vi in Avatar, and Caesar in Rise of the Planet of the Apes.
As Senior Visual Effects Supervisor on Avatar, Joe oversaw a
programme of research and development over four years that
produced shots larger and more complex than ever attempted
before. This involved shooting on a virtual stage with a new camera
system, along with the development a full pipeline of tools effectively
launching a new approach to filmmaking called virtual production.
Last year, Joe led the Weta Digital team back into Middle-earth to
bring to life the first film of Peter Jackson’s much anticipated trilogy
The Hobbit:An Unexpected Journey.
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Eric Saindon
VFX Supervisor
A native of Maine in the United States, Eric
Saindon arrived at Weta Digital in 1999 to
work on the Lord of the Rings trilogy.
Eric was the Creatures/Character Setup
Supervisor for Lord of the Rings: The Fellowship of the Ring and
worked extensively on the creation of Gollum for Lord of the
Rings: The Two Towers. In 2002, Eric became CG Supervisor for
“Pelennor Fields”, the largest sequence of Lord of the Rings: The
Return of the King.
Following Lord of the Rings, Eric worked as a lead CG Supervisor
on I, Robot. For Peter Jackson’s blockbuster remake of King Kong,
Eric became Digital FX Supervisor, and has since worked as a
visual effects supervisor on X-Men: The Last Stand and Fantastic
4: Rise of the Silver Surfer.
Eric began work on Avatar at the start of 2007 on the preproduction pipeline development for jungle and biolume as well
as overseeing the creation of digital assets and continued on to
oversee 745 shots.
Following on from the Avatar DVD, Eric started early pre38
production on The Hobbit. He worked with the previz team and
art department to help breakdown and layout the different
environments in The Hobbit. When production started in March
2011 Eric became the onset visual effects supervisor for the
Hobbit trilogy.
Eric Saindon came to Weta Digital from Santa Barbara Studios
where he was a modelling supervisor and lead technical director
on such movies as Star Trek: Insurrection and The Little Vampire.
Chris White
VFX Supervisor
Chris White originally came to Weta Digital
from Industrial Light & Magic. At ILM, he
focused on creating innovative effects and
tools — including the dynamics software
used to create the tornadoes in Twister, as
well as creating podracer crashes, exploding asteroids, and battling
dinosaurs for the Star Wars prequels and Jurassic Park series.
Chris joined Weta Digital in 2002. Starting with The Lord of the
Rings: The Return of the King, he worked on look development for
creatures including Shelob, Oliphants, and the Haradim. He created
the complex destruction of the Black Gates for the conclusion of the
Lord of the Rings trilogy.
Dave Clayton
For King Kong, Chris helped develop the CityBot software that
helped recreate 1930s New York, procedurally building over
100,000 3D buildings to match the actual 1933 skyline. As well as
developing software and techniques for building a digital New York,
Chris supervised the VFX for several sequences in the film.
Dave Clayton’s degree in Communication
Design was his introduction to 3D animation.
He quickly became passionate about the art
form and in 1999 began animating for films,
music videos, and advertisements.
Next, Chris worked as a Visual Effects Supervisor on Avatar, as well
as Peter Jackson’s The Lovely Bones and Neill Blomkamp’s District 9.
His work as a Visual Effects Supervisor on Rise of the Planet of the
Apes was nominated for both a Bafta and an Academy Award (in the
Visual Effects category). He has recently completed work as a Visual
Effects Supervisor on The Hobbit: An Unexpected Journey.
www.wetafx.co.nz
Animation Supervisor
In 2002, Dave and his university friend Andrew Silke took a hiatus
from work to follow their dream of creating an independent
animated short film. The result was the award winning Cane-Toad:
What Happened to Baz.
Dave’s career at Weta Digital began in 2003 when he was hired for
as an animator on Return of the King. His talent for creating realistic
movement led to him taking on more responsibility — first as a Senior
Animator on I, Robot, then a Sequence Lead on King Kong. His first
Animation Supervisor role came in 2006 on Eragon, where he and
his team created the climactic end sequence.
Dave then started the initial animation studies for Avatar, which
began his three-year involvement in the project. His Animation
Supervisor role on Avatar gave him the experience necessary to lead
the animators back into Middle-Earth and bring to life the digital
characters of The Hobbit: An Unexpected Journey.
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Friday & Saturday // February 1 & 2, 2013 // 8:30 AM – 5:30 PM // Vancity Theatre // 1181 Seymour Street // FREE · REGISTER ONLINE
Job Fair
Digital Domain
41
EA Canada
41
Gener8 (Saturday only)
42
Image Engine (Friday only)
42
MPC Vancouver
43
Pixar Canada
43
Prime Focus
44
Rhythm & Hues Studios
44
Zoic Studios
45
DIGITAL DOMAIN
EA CANADA
Founded in 1993, digital production company Digital Domain
has delivered innovative visuals for more than 90 movies
including Titanic, Pirates of the Caribbean: At World’s End, the
Transformers trilogy and TRON: Legacy. Its artists have earned
multiple Academy Awards®. A creative force in advertising,
Digital Domain has brought its artistry to hundreds of commercial,
videogame and music video productions. The company has been
at the forefront of innovation for nearly two decades and is
expanding its role into the co-production of feature films, the
creative development of advertising and the creation of virtual
performers. From facilities in California and Vancouver, BC,
Canada, including its own state-of-the-art virtual production
studio, Digital Domain continues its innovative work in visual
entertainment and advertising.
Electronic Arts (EA) is a global company with offices and
development studios across the world, including the EA campus
in Burnaby — home to EA Canada studios, as well as their
subsidiary company The Capture Lab, EA’s worldwide motion
capture studio. EA delivers games, content and online services for
internet-connected consoles, personal computers, mobile phones,
tablets and social networks. The company is a leader in digital
interactive entertainment, with more than 250 million registered
players and operating in 75 countries. With different worldwide
locations, EA is proud to be a large company that provides their
staff with more opportunities to exercise their talents. EA is
currently focused on moving some of their valuable franchises
to new platforms and business models, such as the free-to-play
versions of “FIFA” and “Need for Speed” and the FIFA Facebook
game: “FIFA Superstars”.
www.digitaldomain.com
www.jobs.ea.com
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41
Friday & Saturday // February 1 & 2, 2013 // 8:30 AM – 5:30 PM // Vancity Theatre // 1181 Seymour Street // FREE · REGISTER ONLINE
Friday & Saturday // February 1 & 2, 2013 // 8:30 AM – 5:30 PM // Vancity Theatre // 1181 Seymour Street // FREE · REGISTER ONLINE
GENER8 (Saturday only)
IMAGE ENGINE (Friday only)
MPC VANCOUVER
PIXAR CANADA
Gener8 is a technology company providing solutions to
entertainment industry giants like Sony Pictures, Warner
Bros, and Twentieth Century Fox. Our start in stereoscopic 3D
conversion catapulted us to the top of the market within 18
months. Using our unique G83D™ system, today we are the only
studio in the world capable of delivering stereo conversion for an
entire feature-length film that can meet or beat natively shot 3D.
Image Engine provides world-class visual effects for feature
films. With over 15 years in the industry, several award wins
and an impressive list of feature film credits including the
recent District 9, The Twilight Saga: Eclipse / Breaking Dawn
Part 1, The Thing, Immortals, Battleship, and Zero Dark Thirty
it is leading the growing feature film visual effects industry in
Canada. Currently in production are: Neill Blomkamp’s upcoming
feature Elysium (Sony Pictures Entertainment and Media Rights
Capital, 2013), R.I.P.D. (Universal Pictures, 2013), The Fast and
the Furious 6 (Universal Pictures, 2013 ) and Lone Survivor
(Universal Pictures, 2013). Image Engine is a privately owned and
run company, based in Vancouver, BC.
MPC is a global visual effects and postproduction company
working in the Film, Advertising and Creative industries. At MPC,
we collaborate with the international movie industry by bringing
the vision and ambitions of the world’s most creative filmmakers
to stunning life. Increasingly that means being involved at
every stage of the creative process; from collaborating on initial
concept art, rigging and animating characters to delivering the
final compositing and offering advice on stereo workflow.
Pixar Canada is a wholly-owned subsidiary of Pixar Animation
Studios, the creator of some of the world’s most beloved computer
animated films, such as Toy Story, A Bug’s Life, Toy Story 2,
Monsters, Inc., Finding Nemo, The Incredibles, Cars, Ratatouille,
WALL•E, Up, Toy Story 3, Cars 2 and most recently, Brave.
Clearly established as a market leader in 3D conversion, our latest
product is Cumul8™, a unique cloud-based asset management
system that helps filmmakers manage the flow of digital assets
between myriad VFX vendors.
Our vision is to help filmmakers realize their dreams. Today,
Gener8 is driving the digital revolution in the entertainment
industry. Our work includes top tier feature films like The
Amazing Spider-Man, Harry Potter & the Deathly Hallows: Part 2,
and Ghost Rider: Spirit of Vengeance.
www.gener8.com
www.image-engine.com
We work in London, Vancouver, California and Bangalore and as
such have diverse creative inspiration. Our business is all about
our people, and the work we do is only ever as good as the
talent we employ so we make sure our team includes the very
best in their creative and technology fields. Some of our recent
international feature film credits include Life of Pi, Prometheus,
Skyfall, X-Men: First Class, Pirates of the Caribbean: On Stranger
Tides, Sherlock Holmes 2 and of course many more...
We are currently hard at work on projects including; Maleficent,
Man of Steel, World War Z, The Lone Ranger, 47 Ronin, The
Seventh Son and Jack the Giant Slayer.
Based in Vancouver, BC, the studio objective, to make animated
Shorts and TV Specials based on well known and loved Pixar
characters.
The Vancouver production crew includes the Layout, Sets &
Characters, Animation, FX, Lighting, and Rendering departments,
supported by in-house Production Engineering, Systems, HR,
Facilities, and Finance departments.
The studio’s completed projects include:
• Air Mater, released with the Cars 2 DVD
• Small Fry, released with The Muppets in theatres
• Time Travel Mater currently playing at Cars Land at Disneyland
• Partysaurus Rex released with Finding Nemo 3D in theatres
www.pixarcanada.com
www.moving-picture.com
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43
Friday & Saturday // February 1 & 2, 2013 // 8:30 AM – 5:30 PM // Vancity Theatre // 1181 Seymour Street // FREE · REGISTER ONLINE
PRIME FOCUS
RHYTHM & HUES STUDIOS
ZOIC STUDIOS
We are a global creative and technology services company,
delivering innovative and pioneering 3D conversion, visual
effects and animation services to major entertainment and media
companies from Hollywood to Bollywood and beyond.
Rhythm & Hues is a global production powerhouse dedicated to
creation of visual effects and animation for Hollywood movies.
Among its 145 screen credits are The Golden Compass and Babe,
Academy Award winners for Achievement in Visual Effects, (2008
and 1995 respectively). R&H has also received four Scientific
and Technical Awards from the Academy of Motion Picture
Arts and Sciences. Headquartered in El Segundo, California,
with additional facilities in India, Malaysia, Canada and Taiwan,
R&H offers filmmakers a dynamic creative resource with a vast
array of technology and talent. Projects currently in production
include: R.I.P.D, The Seventh Son, Percy Jackson & the Sea of
Monsters, 300: Rise of an Empire, The Hunger Games: Catching
Fire, Winters Tale, Grown Ups 2 and Black Sky. In addition to its
service business, R&H has established East Grand Films, a film
investment fund to co-finance and co-produce major Hollywood
properties for the global market.
Zoic Studios is a visual effects company based in Culver City,
California, with a sister office in Vancouver, B.C., Canada, which
creates computer-generated special effects for film, television,
commercials and video games.
www.rhythm.com
Recent credits include: Twilight Saga, Breaking Dawn 2, Once
Upon a Time, Arrow and DreamWorks’ Falling Skies.
A global team of 3,500 artists, technicians and producers with
diverse experience and backgrounds, we work together to deliver
world-class visual entertainment services from the key centres of
creative content production — London, Los Angeles, Mumbai, New
York and Vancouver.
We’ve had the honour of helping to bring some of the best-known
Hollywood feature film releases to spectacular life, including:
Men in Black 3, Star Wars: Episode One — The Phantom Menace
3D, Total Recall, Frankenweenie, Harry Potter & the Deathly
Hallows: Part 2, Wrath of the Titans, TRON: Legacy, Narnia: The
Voyage of the Dawn Treader, Immortals, Transformers: Dark of
the Moon and Avatar.
www.primefocusworld.com
“Visual Evolution” is their mission: to evolve the story, art, and
technology of the moving image, and through this evolution,
broaden the audience for everything they work on.
Zoic’s accomplished artists and producers understand story,
process, technique and relationships. Their team has a proven
track record of success in a range of media including episodic,
film, commercials and gaming. Masters in the fields of 3D,
Compositing, and Production Management, their elite reputation
attracts additional talent and encourages a strong work ethic.
Zoic’s relationships with its clients are deep and long lasting. The
company is known for results-driven excellence in all endeavors.
www.zoicstudios.com
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Festival
We
Jan. 30
6:30 PM
Wagner’s Dream
49
We
Jan. 30
8:45 PM
Mars et Avril
49
Th
Jan. 31
8:30 PM
The Thing (1982)
51
Th
Jan. 31
10:30 PM
The Thing (2011)
51
Fr
Feb. 1
7:30 PM
2001: A Space Odyssey
53
Fr
Feb. 1
11:00 PM
The Exorcist
53
Su
Feb. 3
1:00 PM
Die Nibelungen
55
Su
Feb. 3
7:00 PM
The Extraordinary Adventures of Adèle Blanc-Sec
55
Su
Feb. 3
9:00 PM
Micmacs
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47
Wednesday // January 30, 2013 // Vancity Theatre // 1181 Seymour Street // Admission: $11 (incl. taxes)
Wagner’s Dream
“Mars et Avril” // Canada // 2012 // Dir.: Martin Villeneuve // 90 min.
All pictures, images, films and other copyrighted works are the property of their respective owners.
USA // 2012 // 115 min. // Dir.: Susan Frömke // BRD
Language: English & French
Complete with soprano spillage, dangling Rhinemaidens, frayed
tempers and frozen computers, Susan Frömke’s fly-on-the-wall
study of a glitch-filled, controversial opera production has more
suspense and drama than any ten reality shows. In taking on
Wagner’s titanic Ring Cycle, superstar Canadian theatre director
Robert Lepage should have known what he was getting into.
The logistical requirements alone — 16 hours of musical drama,
four stories over four nights, dragons, Rhinemaidens, tenors,
carpenters, etc. — are staggering. But directors of Wagner’s cycle
must also come to terms with re-interpreting for contemporary
audiences a work tainted by the composer’s anti-Semitism and
powerful associations with Hitler and Nazism.
New stagings of the work are expected to take all of this on
board and more, and radical re-interpretation has become the
norm. Lepage’s bold solution is to design a special stage —
nicknamed (without affection) “the machine” — with interlocking
wooden elements that shift to create new spaces, from the
bottom of the Rhine to the ruins of Valhalla. This structure, which
recalls at different times the world’s biggest game of Jenga and
a Rubik’s cube, is elegant in action but terrifying to work with —
watching the statuesque soprano Deborah Voigt wipe out and
somehow bounce back is only the most impressive moment of
doughty professionalism in this revealing (if sometimes nervewracking) film. Wagner ain’t for wimps.
Mars et Avril
Canada // 2012 // 90 min. // Dir.: Martin Villeneuve // DCP
Language: French with English subtitles
Produced by Robert Lepage (who also costars — from the head
up — as cosmologist and inventor Eugene Spaak), this stunning
Quebec sci-fi is an eye-popping debut feature from graphic
novelist and Cirque du Soleil alumnus Martin Villeneuve.
Set in a futuristic Montreal, with man on the eve of setting
foot on Mars, the film is a love triangle involving a beautiful
photographer, Avril (Caroline Dhavernas), a musician, Jacob
(Jacques Languirand), and his friend Arthur (Paul Ahmarani)
whose original instruments are inspired by the female form.
Proof that scifi doesn’t have to be about clone wars, Mars et
Avril is more concerned with music, love, and philosophy than
rocket guns. But it also packs a sly wit — as well as extraordinary
production design by the Belgian artist François Schuiten
(The Golden Compass; Mr. Nobody). With music by Benoit Charest
(The Triplets of Belleville).
49
“The Thing” // Canada, USA // 2011 // Dir.: Matthijs van Heijningen Jr. // 103 min.
All pictures, images, films and other copyrighted works are the property of their respective owners.
Thursday // January 31, 2013 // Vancity Theatre // 1181 Seymour Street // Admission: $11 (incl. taxes)
The Thing
The Thing
USA // 1982 // 109 min. // Dir.: John Carpenter // DCP
Canada, USA // 2011 // 103 min. // Dir.: Matthijs van Heijningen Jr. // 35MM
Filmed in Stewart, British Columbia, John Carpenter’s film is the
second adaptation of John W. Campbell’s novella “Who Goes
There?”, previously filmed by Howard Hawks and Christian Newby
in 1951 as The Thing From Another World.
Although critics were predictably sniffy about this prequel to
John Carpenter’s film, it’s worth remembering the critical reaction
in 1982 was equally hostile, with most reviews looking back
nostalgically to the 1951 Howard Hawks production The Thing
From Another World. It took about a decade before Carpenter’s
shocker was accepted as a landmark in modern horror.
Set in American Antarctic research station, the film follows the
discovery of a similar Norwegian site, the scene of some recent
unexplained horrors that claimed the lives of everyone on the
base. Records show that the Norwegians recently came across a
UFO buried in the ice...
Legendary for the shocking creature fx created by Rob Bottin,
the 1982 Thing is now widely perceived as a classic in its own
right, one of the scariest films ever made.
Ingeniously devised to dovetail with events at the remote
Norwegian Antarctic base, the latest ‘Thing’ begins with
the discovery of a flying saucer under the ice. American
paleontologist Kate Lloyd (Mary Elizabeth Winstead) arrives to
investigate and is shown the alien body that has been retrieved
from the scene... A corpse that defrosts with a vengeance.
Showcasing top of the line visual effects by Image Engine, the
Vancouver company best known for District 9, The Thing is
a tense, horrifying movie that pays respect to the past while
embracing the brave new wave in FX work.
51
“2001: A Space Odyssey” // UK, USA // 1968 // Dir.: Stanley Kubrick // 141 min.
All pictures, images, films and other copyrighted works are the property of their respective owners.
Friday // February 1, 2013 // Vancity Theatre // 1181 Seymour Street // Admission: $11 (incl. taxes)
2001: A Space Odyssey
The Exorcist
Uk, USA // 1968 // 141 min. // Dir.: Stanley Kubrick // DCP
USA // 1973 // 122 min. // Dir.: William Friedkin // dcp
Based on Arthur C. Clarke’s short story “The Sentinel”, 2001:
A Space Odyssey redefined the sci-fi genre. With its radical
structure (a single cut elides 4 million years), scant dialogue
and oblique narrative this was the first movie to emulate the
philosophical seriousness of writers like Clarke and Philip K. Dick,
and the first to see that special effects could become an integral
component in the art form.
40 years ago, William Friedkin’s The Exorcist redefined screen
terror with its slow but atmospheric build up mounting to a
sustained crescendo of graphic, visceral horror. Audiences had
never seen special effects like these before, and reacted with
panic and revulsion — as if Satan himself was at loose in this film.
The film’s pacing is deeply unfashionable (except in the
art-house) but seen on the big screen it still holds up as a
spellbindingly immersive experience. Made at the height of
excitement around the space age — just a year before the first
Moon landing — the movie combines a typically cold Kubrickian
rationalism with a genuine sense of awe, mystery, and (often
overlooked), beauty.
Thirteen-year-old Linda Blair is Regan, the movie-star daughter
who is possessed by a demon, and whose body becomes a
spiritual battleground. Even today, 40 years on, if you have never
seen this movie before you have never seen anything that can
match it for sheer unadulterated horror.
53
Sunday // February 3, 2013 // Vancity Theatre // 1181 Seymour Street // Admission: $11 (incl. taxes)
Die Nibelungen
“The Extraordinary Adventures of Adèle Blanc-Sec” // France // 2010 // Dir: Luc Besson // 107 min.
All pictures, images, films and other copyrighted works are the property of their respective owners.
Germany // 1924 // 300 min. // Dir.: Fritz Lang // BRD
The two-part, five-hour Die Nibelungen is a courageous and
hallucinatory work, a film in which every single shot might alone
endure as an exemplar of visual art. Its extraordinary set-pieces,
archetypal themes, and unrestrained ambition have proven an
inspiration for nearly every fantasy cycle that has emerged
on-screen since — from Star Wars to Lord of the Rings.
In Part One, Siegfried, the film’s eponymous hero acquires the
power of invincibility after slaying a dragon and bathing in the
creature’s blood. Later, an alliance through marriage between
the hero and the royal clan of the Nibelungen turns treacherous,
with Siegfried’s sole weakness exploited. In Part Two, Kriemhild’s
Revenge Siegfried’s widow travels to the remote land of the
Huns to wed the monstrous Attila, and thereby enlist his forces in
an act of vengeance that culminates in massacre, conflagration,
and, under the auspices of Lang, one of the most exhilarating and
terrifying end-sequences in all of cinema.
result is a film of startling expressionistic power, and a summit of
Fritz Lang’s artistry to rank beside Metropolis.
The Extraordinary Adventures of Adèle Blanc-Sec
France // 2010 // 122 min. // Dir.: Luc Besson // dcp
Language: French with English subtitles
Paris, 1911: When a pterodactyl hatches in a museum and begins
terrorising the town, clueless detective Caponi (Lellouche) seeks
the connection between the prehistoric menace, a mad old
professor (Nercessian) conducting resurrection experiments and
intrepid reporter Adèle Blanc-Sec (Bourgoin), whose pursuit of
ancient artefacts is a desperate personal mission...
A whimsical, madcap action adventure romp in the spirit of
Indiana Jones from the director of The Fifth Element, Nikita and
Léon: The Professional.
Adapted from the myth that served as the basis for Wagner’s
Ring cycle (though not an adaptation of the operas themselves),
Lang’s picture employs its own counterpoint through a
systematic, viral series of deranged geometrical patterns and the
arresting, kabuki-like quality of the actors’ performances. The
55
Micmacs
France // 2009 // 105 min. // Dir.: Jean-Pierre Jeunet // 35mm
Language: French with English subtitles
Jean-Pierre Jeunet, the wizard who gave us Amelie and
Delicatessen conjures another buoyant medley of slapstick,
whimsy and satire in this infinitely inventive contemporary
fantasy.
Dany Boon (from Welcome to the Sticks) is Bazil, a video store
clerk who takes a bullet to the head in a freak drive-by shooting
mishap. He survives, but the doctors decide to leave the bullet in
there, meaning that he could die at any moment. Released from
hospital, he’s jobless and penniless, but his luck changes when he
falls in with Slammer (Jean-Pierre Mareille) who introduces him
to an industrious group of salvage artists making their home in
scrap heap beneath a Parisian underpath. It’s a bohemian shelter
where tables walk and you never know what contraption you
might bump into next. The slightly damaged Bazil is another
piece of junk to be reclaimed and put to renewed purpose.
I N TE R NAT IONA L FI LM FE ST IVA L
July 2013 Montreal www.fantasiafestival.com
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5
Credits
Your Volunteers:
Sly Provencher · President
Larry Bafia · Vice-President
Dacosta! · Treasurer & Art Direction
Craig Natsuhara · Secretary
Dennis Hoffman · FX Conference Chair
Sauching Ng · Production
Carlye Archibeque · Media Relations
Mike Davison · Tech & Web Development
Tony Tsai · Photography
Hamish Millar · Business Development
Jonathan Kassian · Business Development
Tomoko Bayley · Outreach Japan
Brian Iankovs · Volunteer
Jason Pauls · Volunteer
Alex Reinach + Alison Lake + Amber Ng + Andrea Rosa + Ben Simonds + Deana Louie +
Dhruv Arora + Giulio Tarsitani + Jaime Torres + Jason Guan + Jennifer Gustafson + Joao
Bogossian + Liane Li + Linh Pham + Michael Gresham + Nathan Sam + Shagan Kaur +
Shibu Matthew + Simon Butler + Spen Din + Tom Tang + Trudy Truong + Yegor Swarovski
C
A Huge Thank-You...
To all of our sponsors, all the participating individuals, studios, distributors and
attendees, this would not be achievable without you!
M
Y
CM
MY
CY
CMY
K
Volunteer Coordinators
Barb Dawson · Dylan Hunter · Al Macleod
Job Fair Coordinators
Anne Slama · Sarah Hill · Monique Williams
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The 40th International Conference and Exhibition
on Computer Graphics and Interactive Techniques
sparkcg.ca
[email protected]