CG Supervisor / Motion Capture Manager
1982
[email protected]
US

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Albert Hastings

I've been working in Visual Effects for over 20 years. I'm very happy that this eclectic body of artists, scientists and pioneers has progressed to a highly respected part of motion picture production. A lot of this was due to the efforts of the Visual Effects society. I feel it's time I took the opportunity to volunteer and give back to the organization.

I began my career as a camera operator for ten amazing years, until my passion for Visual Effects and Animation led me to  start up my own visual effects company inside Film Australia in 1995, specializing in 3D animation and motion capture using a very early cabled, magnetic motion capture system from Polhemus. I was hungry to work on bigger projects so I took on the role of Head of 3D at Animal Logic in Sydney. I enjoyed the 'can do' philosophy in Australia, and the high standard of work, but deep down I'd always wanted to be a part of the team on feature films in the USA so in  1997 I moved to Palo Alto became a layout artist on Shrek at PDI.  At the same time, I had the pleasure of leading the students in the Visual Effects program at the Academy of Art develop and finish their final projects.  When PDI was acquired by Dreamworks, I moved to Los Angeles to become a character rigger on Spider-man.  I went on to create crowd systems for Men in Black 2, then leading up Motion Capture Integration crew on The Polar Express and Monster House. I did double-duty between Beowulf and Spider-man 3, before moving back to the mocap stage for Alice in Wonderland.  At the completion of that project I got the opportunity to become the Virtual Lab Supervisor at Lightstorm on Avatar. When the mocap stage stage wrapped, I finished out the movie at Weta Digital, doing lighting and compositing in New Zealand.  I came back to Imageworks in 2012 to CG Supervise Smurfs 2, I took a three year detour to Paris to work at Quantic Dream, heading up the mocap stage for the video game, 'Detroit'. I returned to LA to become lab supervisor again on the Avatar sequels for seven months before taking another opportunity to work with Robert Zemeckis on 'The Women of Marwen'.  Following this I took over the role of CG Supervisor again on the Pokemon movie, and then CG Supervisor for CoSA VFX on stage for 'Lucifer'. Currently I'm the Motion Capture Stage Manager at 2K Mocap in Northern California.

Role with the VES
I've been an active member for several years, currently offering my assistance as a volunteer to join the board of managers to help the crew of great people who have dedicated themselves to making the VES a truly indispensable resource for the Visual Effects community.