12 October

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Wednesday 12 October 
BFX CORE Presentations  - VFX and Animation


 Description of talk

Uncharted Waters: The Technology Transitions of Finding Dory

The production of Finding Dory introduced multiple technology transitions for Pixar Animation Studios. These included the RenderMan RIS path tracer, KATANA and Universal Scene Description (USD). This talk will focus on the practical impact of these transitions on the shading, lighting and rendering pipelines.

Steve LaVietes is a Supervising Lead Software Engineer for the Lighting, Shading and Rendering teams within Pixar’s Studio Tools group.  He is one of the original architects of KATANA, for which he received an Academy Award for Technical Achievement in 2013.
Blue Zoo

sidebysideWithNotes_01Creating high quality animation for television

Tom Box is a co-founder of Blue Zoo, starting the company with classmates whilst at the NCCA at Bournemouth University 16 years ago.

Bader Badruddin is a series Animation Director at Blue Zoo, with over 10 years experience in cartoony character animation for kids tv, Bader has worked on projects for Disney, Cartoon Network,Nickelodeon and CBeebies across the world.

Tom Box will give a brief introduction to the studio followed by experienced CG animator Bader Badruddin discussing practical tips on creating high quality cartoony animation in short amounts of time.


Tom Box – Co-founder

Bader Badruddin – Animation Director


Framestore | Creating Pyrotechnics Effects for Film 

Andy Hayes, Head of FX at Framestore, will dive into the making of The Legend of Tarzan; from FX pipelines, intricate jungle environments and creature animation.

An Oscar-winning creative studio, Framestore has worked with some of the greatest storytellers in film today. Collaborating with directors and producers across the complete filmmaking process to help design, plan and create visual effects, Framestore focuses on finding innovative solutions to support their vision.

Movies often require the creation of pyrotechnic elements to support dramatic stories. These can be done on set with Special Effects technicians who use a variety of materials and techniques to create stunning phenomena. Visual Effects Artists are sometimes called in to embellish these elements or produce these effects digitally. To increase the peril, or in  cases where it is prohibitive to shoot real life material. This talk will cover how the Framestore’s fx department handle the creation of pyrotechnics, what they have learned from their Special Effects counterparts and how they are trying to create better effects.

Andy Hayes, who co-won the 9th Annual Visual Effects Society Award for Outstanding Effects Animation in an Animated Feature Motion Picture, is Framestore’s Head of Effects, where recent credits include 47 Ronin, Gravity, Pan and The Martian.

Earlier on in his career, Andy spent some time at Dreamworks, moving from FX Animator to Lead Developer and Sequence Lead working across notable VFX-heavy feature films like Rise of the Guardians, The Croods, How to Train Your Dragon, Shrek Forever After and Monsters Vs Aliens. His role at Dreamworks also included Technology Representative: facilitating next-generation technology design, features, functionality and implementation for a department of over 100 artists.

Prior to his tenure at Dreamworks, Hayes was at Framestore working as Lead Effects Technical Director on The Golden Compass, a film that went on to win the Oscar and BAFTA for Best Visual Effects.

Karrot Entertainment 

02_Kite_Section_MainSarah and Duck

The process and creativity of Art Direction for Bafta-Award Winning 2D series ‘Sarah & Duck’. Annes Stevens, Art Director will be looking at the journey taken to create the visual style of Sarah & Duck, as well as an analytical look at the style that emerged. We will also look at the step by step process involved in creating a background for the show.

Annes Stevens – Art Director

Annes Stevens spent 7 years working as a concept artist for computer games before returning to her original passion of animation. She has been Art Directing on the BAFTA winning series Sarah & Duck for the past 4 years.


Independence_Day_1280x720The Making of Independence Day: Resurgence and other recent work

Cinesite is a world-leading visual effects and animation facility. With studios in London, Montréal and Vancouver, over the past 23 years it has completed visual effects for major productions. Some recent credits include Assassin’s Creed, Fantastic Beasts and Where to Find Them, Captain America: Civil War, The Revenant, Independence Day: Resurgence, AntMan and Spectre.

Earlier this year, Cinesite announced the opening of its feature animation studio in Montréal. In a deal with 3QU to create a slate of family animation films, they have already completed work on Charming (Avril Lavigne, Demi Lovato, Sia) which releases Spring 2017 and are now in production on Gnome Alone. In addition, they are co-producing Klaus with SPA Studios, written and directed by Sergio Pablos.

Cinesite will be presenting work from several recent productions, including Independence Day: Resurgence.


As a director of Cinesite and a founder of the animated features side of the business, Eamonn directs all aspects of the company’s animation output.
Eamonn’s extensive career in visual effects includes work at Cinesite on Independence Day: Resurgence, Captain America: Civil War, Ant-Man, Hercules, Edge of Tomorrow and Robocop.Previously at Double Negative, he spent seven years as head of animation, supervising work on a catalogue of films, including John Carter, Harry Potter and the Order of the Phoenix, Hellboy 2, Iron Man 2 and Paul.
Prior to moving into visual effects, Eamonn spent ten years at Walt Disney Feature Animation in California. He progressed from Senior Animator on Fantasia 2000 to Character Supervisor on Dinosaur and Animation Supervisor for Reign of Fire, Wildfire and Chicken Little. While there, Eamonn developed and ran a curriculum and training course, which taught Disney’s traditional animators to become CG animators.
Eamonn trained under veteran Disney animator David Brain at Dublin’s Dun Laoire College of Art and Design and spent four years working as a Traditional Animator, Storyboard Artist and Animation Director, before switching to CG.VENETIA HADLEY
Venetia is one of Cinesite’s senior compositors and is a key member of the compositing team; she spends her time combining a myriad of images from a variety of sources to create seamless shots. Recent projects include Independence Day: Resurgence, Captain America: Civil War, The Revenant, AntMan, and Spectre.
Paul Campion

PaulcampionKickstarting The Naughty List

How to crowdfund your short film In this talk, Paul will be discussing the highs and lows of running a successful crowdfunding campaign, and how he raised over £10,000 on Kickstarter to finance his third short film The Naughty List.

Paul Campion

Paul began his career as a freelance illustrator after studying at Technical Illustration at Bournemouth and Poole College of Art and Design.

He then completed his MA in Computer Animation at Bournemouth University and has worked in New Zealand, San Francisco and London on films such as The Lord of the Rings trilogy and recently on Independence Day 2, Captain

America: Civil War and Fantastic Beasts and Where to Find Them.

Paul wrote and directed the two multi-award winning short films Eel Girl and Night of the Hell Hamsters, which have screened at almost every major genre film festival worldwide.  Paul’s debut feature film The Devil’s Rock was co-funded by the New Zealand Film Commission and by Paul re-mortgaging his house, and featured special makeup effects by 5 times Oscar winning Weta Workshop.

Double Negative 

ExMachina1280x720Ex-Machina | Rigging Beneath the Surface

Formed in 1998 with a team of just 30, multi-award-winning Double Negative is now one of the world’s leading VFX houses with state-of-the-art facilities in London, Vancouver and Mumbai.  This year Double Negative picked up the Best VFX Oscar for the second consecutive year for Ex Machina.  This was Dneg’s third Oscar, having previously been honoured with the award for its work on Inception and Interstellar.  All three wins came for projects for which Dneg was the client VFX house, working in close creative collaboration with the Director and Film Company and leading the visual effects process.  With exceptional crew working across three continents, Double Negative has worked on an unprecedented 24 shows this year, creating cutting edge visual effects for some of the highest-grossing and critically acclaimed movies of 2015/2016. www.dneg.com


Ex Machina picked up Academy Award for Best VFX at this year’s Oscars.
The beauty and subtlety of Ava’s VFX was absolutely fundamental to her on-screen believability and a central driver of the storyline for “Ex Machina”. One of Double Negative’s Oscar winners was Mark Ardington. Mark was CG Lead on Ex Machina and responsible for creating the rigging that allowed the CG to mesh perfectly with actress Alicia Vikander’s movement and performance. This talk delves “right under her skin” to explore the challenges of developing the highly flexible tracking rig that was pivotal to creating (what is fast becoming) one of the most iconic sci fi characters of recent years.

Academy Award winner Mark Ardington has over 17 years experience as an Animator, Rigger / TD, Animation Director and VFX Supervisor on many award-winning CGI commercials, TV series and films.

He joined Double Negative in 2013 as CG Lead and has subsequently lent his expert artistry to films including ‘Paddington’, ‘Exodus: Gods & Kings’, ‘Antman’, ‘Spectre’ and, of course, ‘Ex Machina’, for which Mark built the rigging which allowed CG and performance to meld to such mesmeric perfection in the creation of Ava – Mark picked up the Academy Award for Best VFX this year for his work on the film. Mark most recently completed work on Tim Burton’s next movie, the fantastical ‘Miss Peregrine’s Home for Peculiar Children’

Wednesday Evening Screening and Q&A




A young programmer is selected to participate in a ground-breaking experiment in synthetic intelligence by evaluating the human qualities of a breath-taking humanoid A.I.

The screening of the film will be followed by a Q&A with VFX studio Double Negative


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**Please note whilst we will do our best to adhere to the timings and content of the programme , these are subject to change at the organisers discretion.  We advise you to check the timetables within the venue on arrival for an up to date schedule  **