Register Now - Saturday, October 28, 2017
David Altenau is the original founder of FuseFX, and is also the CEO and senior Visual Effects Supervisor. Altenau has been in the visual effects industry for over 25 years and his work has garnished both Emmy and VES nominations.
Altenau has led the growth of FuseFX from start-up to approximately 300 employees in three locations worldwide. His leadership and vision has enabled extraordinary growth and success of the company over the course of 10 years. FuseFX has become an industry leader and highly respected entity in the field of Visual Effects.
Altenau, a native of Ohio, began his career in San Francisco 1989, becoming a pioneer in the field of computer animation. After working on commercials at Editel for a period of time, in 1996 he moved to Los Angeles to become a senior CGI artist for Warner Digital Studios, where he worked on such films as Mars Attacks and Batman & Robin. Altenau continued his career with both Pacific Title/Mirage and Cinesite Hollywood, receiving an Emmy nomination for his work on “From the Earth to the Moon” and working on such Hollywood blockbusters as X-men, X-Men II, Thirteen Days and Sixth Day. After focusing on feature films early on, Altenau broadened his focus to become the visual effects supervisor on such episodic shows as Carnivale, Deadwood, K-Ville, The Unit, Lie To Me, United States of Tara, and Criminal Minds. In 2006, he founded FuseFX and has led the organization since that time.« less
A visual effects and animation veteran of over 25 years, John has worn many hats in a broad range of film and TV productions as a VFX artist, animation director, technical director, producer, and software developer. Currently, John is a working as Senior Production Consultant with the R&D team at SideFX in Toronto focused on the development of Character and Animation tools. In 1994, John co-founded C.O.R.E. Digital Pictures in Toronto with the intent of establishing a world class visual effects facility in Canada servicing the feature film and television series markets. John’s dedication to the craft, vision, and leadership were instrumental in growing a small VFX studio with a total staff of six, to a key player in the industry employing over 300 people at its peak while producing Disney's The Wild. Until it shuttered in 2010, C.O.R.E. was revered as one of Canada's highest ranked animation and visual effects studios recognized around the world. John graduated from the University of Waterloo with an honors degree in Fine Arts, and completed his studies in Computer Animation at Sheridan College in 1986.
John's many feature film credits include CG Supervisor for Disney’s The Wild, and Animator and Technical Director for X-Men, and Doctor Dolittle, and Fly Away Home, and Animation Director on Cats & Dogs II: The Revenge of Kitty Galore, and Nutty Professor II: The Klumps. Television credits include VFX work on The Expanse, and The Outer Limits: Sandkings. John also won a Gemini Award as Co-Producer for Best Animated Series for Angela Anaconda.« less
Todd Masters is the President/Founder and Chief Monster Maker with MASTERSFX, one of the world’s leading, full-service character FX companies. With studio locations in Los Angeles, Vancouver and Toronto, MASTERSFX has provided characters and makeup FX to thousands of feature films, TV shows and commercials during the course of the past 30 years – the company was founded in 1987.
Masters, a two time Emmy Award winner, is a veteran of the “Golden Era” of rubber monster making FX. Early in his career, he worked on such iconic projects as “Big Trouble in Little China, “Night of the Creeps,” “Predator,” “Poltergeist II,” “Nightmare on Elm Street 5,” “Tales from the Crypt,” and dozens more.
Among the first to integrate Makeup FX & Practical FX with Digital VFX – Masters remains a leader in his field, and continues innovating and blending FX methodologies, while consistently creating dazzling FX. Today, MASTERSFX is the only studio in the world that offers a complete range of practical/digital options through a unique process called “dMFX,” a blend of practical and digital makeup, special FX, prosthetics and animatronics.
Creators of the cadavers for “Six Feet Under,” the vampires from “True Blood,” the Borg FX for “Star Trek,” and the baby makers from “Look Who’s Talking,” the work of Todd Masters and his company also includes contributions to “The Handmaid’s Tale,” “This is Us,” “The Good Doctor,” “The Magicians,” “Future Man,” “Six Feet Under,” “Prison Break,” “The Expanse,” “The 100,” “iZombie,” “Fringe,” “RoboCop,” “The Day the Earth Stood Still,” “The Haunting in Connecticut,” “Star Trek: First Contact,” “The Horse Whisperer,” “Slither,” “Snakes on a Plane,” “Buffy the Vampire Slayer,” and countless more.
Masters and his company also supply dummies and detailed FX props for studios to rent, and custom and stock temporary tattoos, as well as their unique, fast-apply prosthetic system, ProGASH.
A founding member of The Visual Effects Society, Masters is also an award-winning director; a successful toy designer and entrepreneur; has toured with Better Midler and Spinal Tap; helped “disguise” Michael Jackson; and was one of the first artists to create prosthetics digitally – thirteen years before the release of the hit film “The Curious Case of Benjamin Button.”
Todd Masters is the winner of 2016 Leo and Daytime Emmy Awards for “Outstanding Makeup” for the Netflix series, “Monsterville.” He is also the winner of an Emmy Award in 2003 for the 2001/2002 Season of “Six Feet Under” in the category "Best Special Effects Makeup." And in 2006, Masters and his company won a "Saturn Award" for "Best Make-Up FX" for their work on the film “Slither.”
Karin Joy is a freelance VFX Producer and Consultant.
She is currently working as the VFX Producer for Crazy Alien, a film currently shooting in Qingdao, China. Last year she was the VFX Producer on Okja, which shot mostly in Korea. Prior to that she was the LA based Executive Producer for EDI Effetti Digitali Italiani, one of the top visual effects companies in Italy.
Karin has served as the Production side VFX producer for Academy Award nominee I-Robot, VES Nominated Charlotte’s Web. Other projects she has worked on are: X-Men, Species, Drop Zone, Waterworld, True Lies, Multiplicity, Air Force One, Armageddon, Thirteen Days, Rat Race, Windtalkers, Message in a Bottle, Michael Jackson’s This Is it, The Forbidden Kingdom, and Thunder Run, to name a few.
She has had the opportunity to work at some of the top facilities in the world, starting with Boss Film Studios, Cinesite, Station X, Rezn8, Complete Post, Dreamworks Animation, Entity FX, Digital Sandbox, and was Head of Production at Animal Logic in Sydney, Australia.
Karin is a member of the Visual Effects Society and the Producers Guild of America. When not working, she is an avid tennis player, world traveler and admitted wine and food enthusiast. Karin has enjoyed her many collaborations over the years and is always amazed and impressed with what her colleagues in the visual effects industry are able to accomplish.« less
Scott Farrar joined Industrial Light & Magic in 1981 as a camera operator on Star Trek II: The Wrath of Khan. In 1985, Farrar received an Academy Award® for Best Visual Effects for his work on Cocoon, and two years later he was promoted to Visual Effects Supervisor for Who Framed Roger Rabbit? Farrar’s ability to carry out the vision of filmmakers has earned him several additional honors including Oscar® nominations for Backdraft in 1991, A.I. Artificial Intelligence in 2001 and The Chronicles of Narnia: the Lion, the Witch and the Wardrobe in 2005. Farrar earned British Academy Award nominations for his breakthrough work on A.I. Artificial Intelligence and his futuristic environments in Minority Report. In 2007, he received an Oscar® nomination for Best Visual Effects for his work on Transformers. Farrar was also the Visual Effects Supervisor on Transformers: Dark of the Moon, and was nominated for an Academy Award for Best Visual Effects. Farrar has continued his tradition of working with big name directors on blockbuster franchises including Marc Forster and Gary Ross. This year he completed the fifth installment in Michael Bay’s billion-dollar franchise, Transformers: The Last Knight.
Prior to coming to ILM, Farrar worked as a freelance cameraman in Los Angeles. In 1975, he was invited to visit the set of the then unknown Star Wars and saw the first motion control system in action. Inspired by what he saw, he began work for Robert Abel and Associates, and eventually for Doug Trumbull working on Star Trek: The Motion Picture.
A California native, Farrar received his Bachelor of Arts and Masters of Fine Arts in Theater Design with an emphasis in Film from the University of California at Los Angeles.« less
Christopher Lockhart is Hollywood’s foremost story professional. As Story Editor at WME, the world's largest diversified talent agency, Chris curates projects for A-list actors such as Denzel Washington, reading and exploring through piles of screenplays, magazines, books, old movies, TV shows, and pitches in search of potential film projects.
Chris began his career at International Creative Management (ICM), where he worked as script consultant to legendary talent agent Ed Limato, who represented industry giants such as Mel Gibson, Richard Gere, Michelle Pfeiffer, Liam Neeson, and Robert Downey, Jr. Chris later moved to the venerable William Morris Agency, which eventually merged with Endeavor to form WME.
As an educator and consultant, Chris has lectured around the world on the craft and business of screenwriting, and he has advised on countless feature films. Chris graduated from New York University's Tisch School of the Arts with an MFA in dramatic writing and was awarded the school's Public Service Prize for his dedication to public education. He is an adjunct professor at National University's Professional Screenwriting Program. He has also taught at LA Valley College and UCLA. His writing workshop The Inside Pitch was filmed for Los Angeles television, earning him an Emmy Award nomination. Chris's creative counsel has been used on many hit films such as the 2016 Sundance Film Festival sensation The Birth of a Nation.
Chris crossed over into film producing with the cult horror hit The Collector (2009) and its sequel The Collection (2012), which opened in the top ten box-office. He also wrote and produced the award winning documentary Most Valuable Players (2010) which was acquired by OWN (Oprah Winfrey Network), and that Matt Roush of TV Guide reviewed as the “Sleeper of the week...Charming and disarming…A genuine treat.” Chris has set up several other projects, including A Rhinestone Alibi at Paramount, and Crooked Creek, a modern noir thriller.
Chris is a member of the Writers Guild, the Producers Guild, and the Television Academy. He lives in Beverly Hills, CA and has an eight-year-old son.
As General Manager of the Enterprise business, Marc oversees growth of Epic Games’ Unreal Engine business into markets outside of game development. Prior to joining Epic Games in mid-2016, Marc was a partner and Entrepreneur-In-Residence at XPND Capital, a Montreal-based investment fund where he co-founded and launched Taxelco, a sustainable urban transportation company. Between 2002 and 2013, Marc ran Autodesk’s Media & Entertainment business unit steering development and marketing of the industry’s leading 3D animation and VFX software products 3ds Max, Maya, MotionBuilder and Flame. Marc started his career at TDI in 1988, and joined Softimage in 1991 where he ran 3D Products and oversaw the design and development of Softimage XSI.« less
Vince Baertsoen is Group CG Director at The Mill, where he is responsible for overseeing the communication and development of the CG pipeline across all offices, working closely with The Mill's Heads of 3D and all Supervisors, covering all disciplines, which include Rigging, Animation, Lighting, FX, Modeling/Texturing and Previs. His mission is to improve and unify the pipeline and workflow across the group, and he is helping implement emerging technologies, such as VR, AR, realtime and interactive in the process.
Vince was previously Head of CG in NY, and supervised the animation and VFX on the VES Awarded and Gold Cannes Lion-winning PETA ‘98% Human,’ the VES-nominated Johnny Walker ‘Rock Giant,’ Hallmark’s ‘Motherbird,' as well as other high-profile jobs over the past 10 years.
He has collaborated with filmmakers and directors such as Fredrik Bond, Peter Thwaites, Chris Cunningham, Alejandro Gonzalez Inarritu, and Pleix, to name a few, along with agencies including Droga5, BBDO, Ogilvy, Havas, Leo Burnett, BBH and TBWA. Vince has been the Board Member of VES New York and has helped strengthen the VFX community in the New York area since 2013.« less
D’nardo Colucci is President and co-founder of The Elumenati, LLC (2003). Aside from business related responsibilities, he is responsible for overall system design matching immersive projection hardware and software solutions to customer needs, He has a PhD in Optical Sciences from the University of Arizona Optical Sciences Center.
D’nardo has over 20 years experience designing optical systems including adaptive optics for telescopes, laser scanning
systems, custom lenses for theme park rides, head-mounted displays for virtual and augmented reality applications, optical
tracking systems and of course spherical projection systems. D’nardo has been awarded 10 patents.
Previous positions include Staff Scientist at the University of North Carolina at Chapel Hill Computer Sciences Department, Director of Optical Engineering at Elumens Corporation and Industrial Liaison at the University of Minnesota Digital Design Consortium.« less
Kevin is a co-founder and VFX Supervisor at Atomic Fiction, an effects company with studios in San Francisco, Los Angeles and Montreal. In the 7 years since co-founding Atomic Fiction, he has supervised visuals for two Star Trek movies, two Transformers franchise installments, and the award-winning effects for Robert Zemeckis’s live action films, Flight and The Walk. He most recently wrapped production on Zemeckis’s film Allied.
Prior to launching Atomic Fiction, Baillie supervised at ImageMovers Digital on cutting-edge motion capture feature films, and helmed VFX at The Orphanage on critically-acclaimed movies such as Pirates of the Caribbean: At World’s End, Night at the Museum, Superman Returns, Harry Potter and the Goblet of Fire and Hellboy.
Kevin is also CEO of Conductor Technologies, a company breaking new ground by offering high-capacity, on-demand rendering to the masses using cloud computing technologies.
Baillie’s film career began very early on, when he joined Lucasfilm’s JAK Films division as a pre-visualization artist on Star Wars Episode I at the age of 18.
Dominik is the Director for Global Business Development 3D Geodesign at Esri Inc. in Redlands (CA), where innovative 3D solutions for Esri’s customers are developed. He is instrumental in Esri's efforts for the entertainment industry and works with entertainment companies all over the world (Walt Disney Animation Studios, Pixar, Double Negative, Dreamworks, Scanline VFX, etc.). Previous he was a co-founder of Procedural Inc., the maker of the modeling software for 3D urban environments CityEngine, which was acquired in 2011 by Esri.« less
Darren Hendler is a 20-year veteran of the visual effects industry, where he has contributed his talents to more than 15 feature films and scores of commercials. In his current role at Digital Domain, Darren is responsible for spearheading new technology to create photo-real creatures and digital humans across all platforms. A few of the feature films that Darren has contributed to include Beauty and the Beast, FF7, Maleficent, Pirates of the Caribbean: At World’s End, The Golden Compass, Percy Jackson & The Olympians and I-Robot.Darren is a member of the Academy of Motion Pictures Arts & Sciences and hold a B.S. degree in Electrical Engineering from the University Of the Witwatersrand in South Africa.« less
Recently joining NVIDIA, Vincent oversees developer marketing for Design, Visualization and Professional VR. Previously VP of Product Development at DAZ3D, he spearheaded integrating physically based rendering and improving compatibility with professional applications. Vincent spent five years at Fusion-io where he was Director of Visual Computing working closely with entertainment software developers and production studios on implementing solutions that facilitate new levels of creativity, productivity and worldwide collaboration. He helped pioneer interactive 4K and 6K production pipelines as well as new workflows that leverage the latest innovations in ultra-fast storage. Vincent has designed technology solutions for 2D and 3D production in the visual effects, video game and design industries for over 18 years. Before joining Fusion-io, Vincent spent 11 years at Autodesk Media & Entertainment, working with leading Hollywood studios both as a Product Specialist for 3dsmax and as Product Designer on Autodesk’s desktop compositing tool, Toxik (now Composite). At Autodesk, Vincent was a key member of the stereoscopic advisory board, where he helped to establish innovative S3D conversion pipelines with major studio clients. In addition, working as a VFX supervisor and artist on films, games and architectural/engineering projects for Clients including Disney Feature Animation, Paramount Pictures, Electronic Arts, Bungie and four-time Academy Award nominee David Lynch.« less