Work Experience Education Software Skills Award Nominations About Me

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Work Experience Education Software Skills Award Nominations About Me

www.mark-spindler.com [email protected] About me Education I am a Visual Effects Supervisor at Pixomondo in 03/2011 – 08/2012 Frankfurt, Germany. I started working there as a Master of Arts, “Media Production” Compositor right after finishing my Master of Arts Hochschule Ostwestfalen-Lippe – Lemgo, Germany in Media Production in 2012, and became Lead Major field of study: Compositor and Compositing Supervisor during Visual Production – Animation, Compositing the following years before being promoted to my 09/2010 – 01/2011 current position. Master of Science, “Medialogy” At Pixomondo I had the opportunity to work on Aalborg University – Esbjerg, Denmark many feature films as well as TV shows like Game Semester abroad during the Master in Lemgo of Thrones, for which I received two VES Award nominations. In addition to my experience in post 09/2007 – 08/2010 production I have worked as On-set VFX Supervisor Bachelor of Arts, “Media Production” for several German projects. Hochschule Ostwestfalen-Lippe – Lemgo, Germany Work experience Award nominations since August 2019 14th VES Awards 2016 Visual Effects Supervisor/Head of Compositing Outstanding Compositing in a Photoreal Episode Pixomondo – Frankfurt, Germany Nomination for “Game of Thrones; Drogon Lair” Some of the projects I worked on: 13th VES Awards 2015 • The Mandalorian (Season 1) • Raised by Wolves (Season 1) Outstanding Performance of an Animated Character in a Commercial, Broadcast Program, or Video Game September 2017 – July 2019 Nomination for “Game of Thrones; Drogon” Compositing Supervisor/Head of Compositing Pixomondo – Frankfurt, Germany Some of the projects I worked on: • Game of Thrones (Season 8) Software skills • Midway • The Girl in the Spider’s Web 2D Nuke þþþþþ October 2015 – August 2017 Photoshop þþþ¨¨ Lead Compositor After Effects þþþ¨¨ Pixomondo – Frankfurt, Germany Mocha þþþ¨¨ Some of the projects I worked on: • Game of Thrones (Seasons 6 & 7) 3D • Justice League 3ds Max þþþ¨¨ • xXx: Return of Xander Cage Blender þþ¨¨¨ þ¨¨¨¨ October 2012 – September 2015 Maya Compositor Programming Pixomondo – Frankfurt, Germany Python þþþ¨¨ Some of the projects I worked on: C++ þþ¨¨¨ • Game of Thrones (Seasons 3-5) • Star Trek Into Darkness • The Physician Other • Bridge of Spies RV þþþþþ • After Earth Shotgun þþþ¨¨.

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_ ____ Press release Emmy nomination for Mackevision’s visual effects in “Lost in Space” ° Netflix has the most nominations for the Emmy Awards ° Second Emmy nomination for Mackevision and second Emmy nomination for Prof. Juri Stanossek, VFX Supervisor Stuttgart, 13th July 2018 — The Emmy award nominations were announced on Thursday. Netflix leads the field with a total of 122 nominations, including the successful series “Lost in Space”. Prof. Jury Stanossek, VFX Supervisor at Mackevision, has been nominated for the Emmy in the category “Outstanding Visual Effects” together with other VFX supervisors. “I am overwhelmed and incredibly grateful for the nomination. Above all, I am proud of the team whose work laid the foundation for the nomination. I would like to express my deepest thanks to our VFX Producer, Marina Winter, who has done an incredible job” said Juri Stanossek. “35 artists worked on seven episodes over a period of six months and created 75 shots. We are especially proud of the Jupiter spaceship model because it has a strong presence in every episode of the series.” For Stanossek, this is the second Emmy nomination in the course of his career. In 2012, he received both an Emmy award and an award from the renowned American organization “Visual Effects Society” for his work on the second season of “Game of Thrones”. Led by the VFX supervisors Jabbar Raisani, Terron Pratt and Marion Spates, Mackevision was one of multiple VFX companies operating worldwide that transformed “Lost in Space” into a superlative fantasy experience. Mackevision provided digitally rendered scenes featuring the computer-generated spaceship Jupiter (including the start sequence, spatial explosion) along with digital creatures and digital environments.
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Final Copy 2020 06 23 Niu
This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License. A copy of this may be found at https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode This license sets out your rights and the restrictions that apply to your access to the thesis so it is important you read this before proceeding. Take down policy Some pages of this thesis may have been removed for copyright restrictions prior to having it been deposited in Explore Bristol Research. However, if you have discovered material within the thesis that you consider to be unlawful e.g. breaches of copyright (either yours or that of a third party) or any other law, including but not limited to those relating to patent, trademark, confidentiality, data protection, obscenity, defamation, libel, then please contact [email protected] and include the following information in your message: •Your contact details •Bibliographic details for the item, including a URL •An outline nature of the complaint Your claim will be investigated and, where appropriate, the item in question will be removed from public view as soon as possible. This electronic thesis or dissertation has been downloaded from Explore Bristol Research, http://research-information.bristol.ac.uk Author: Niu, Muqun Title: DIGITAL VISUAL EFFECTS IN CONTEMPORARY HOLLYWOOD CINEMA AESTHETICS, NETWORKS AND TRANSNATIONAL PRACTICE General rights Access to the thesis is subject to the Creative Commons Attribution - NonCommercial-No Derivatives 4.0 International Public License.
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Hugo Cabret - Hugo
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Rainergombos Resume VFX Word6
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Case Study: NVIDIA Quadro K4000 Helps Pixomondo Create Alien
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Adriano Calafiore
Adriano Calafiore VFX COMPOSITOR January 2021 PERSONAL INFORMATION Birthplace/date: Montreal (CANADA), 09 July 1984 E-mail: [email protected] Citizenship: CANADIAN and ITALIAN Mobile: (ita) +39 3396457070, (eng) +44 7868519062 Demo reel: Vimeo.com/294598512 (password protected) Website: www.adrianocalafiore.com ─────────────────────────────────────────────────────────── MAIN SKILLS COMP LOOK DEV, CGI COMP, ADVANCED KEYING & PATCHING, SET EXTENSION, PAINT&RIG REMOVAL OTHER SKILLS Video editing (Final Cut, Adobe Premiere), image editing (Adobe Photoshop), audio editing (Adobe Audition/Izotope RX Suite) ─────────────────────────────────────────────────────────── JOB EXPERIENCE 2020 November - 2021 March Sr Nuke Compositor JELLYFISH P. London (UK) 2021 Spirit Untamed 2019 May - 2020 August Sr Nuke Compositor RODEOFX Montreal (CANADA) 2020 Lovecraft Country (TV Series) 2020 Chaos Walking 2019/20 Bloodshot 2019 Jumanji 2 - The Next Level 2019 Zombieland 2 2019 IT 2 2018 November - 2019 March Sr Nuke Compositor CINESITE London (UK) 2018/9 Avengers: Endgame 2016 January - 2018 November Sr Nuke Compositor DNEG London (UK) 2018 Fantastic Beasts 2: The Crimes of Grindelwald 2018 Mission Impossible - Fallout 2018 Avengers: Infinity War 2017/8 Pacific Rim 2: Uprising 2017 Justice League 2017 Altered Carbon (Netflix series) 2017 Wonder Woman 2016 Star Trek: Beyond 2016 Jason Bourne 2016 Captain America: Civil War 2014 September - 2015 Nov. Sr Nuke Compositor MPC Vancouver (BC, CDN) 2014/5 Monster Trucks 2014 Night At Museum: Secret Of The
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BJØRN MAYER VFX Supervisor
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2013 Feature Film Production Report
2013 Feature Film Production Report © 2014, FilmL.A. Research 6255 W. Sunset Blvd., 12th Floor ● Los Angeles, CA 90028 ● 213.977.8600 ● www.filmla.com About this Report This report is the product of independent research conducted by FilmL.A, Inc. FilmL.A. is Los Angeles’ regional film office, serving the City and County of Los Angeles and an ever‐increasing roster of local municipalities. Providing streamlined permit processing, comprehensive community relations, marketing services, film policy analysis and more to these jurisdictions, FilmL.A. works to attract and retain film production in Greater Los Angeles. Integral to FilmL.A.’s work is ongoing research into the benefits that local filming brings to the Los Angeles region. To that end, the company maintains an internal research division devoted to the production, collection and dissemination of information regarding the U.S. film production economy. On behalf of everyone at FilmL.A. and those who depend on local entertainment production for their livelihoods, we thank you for your interest in this report. If you have any questions about the content herein, the authors welcome your inquiries. Adrian McDonald, Lead Research Analyst FilmL.A. Research 6255 W. Sunset Blvd., 12th Floor Hollywood, CA 90028 213.977.8636 www.filmla.com Executive Summary This study is the result of approximately six months of independent research performed by FilmL.A., Inc., the film office for the greater Los Angeles region. It began with a desire to better quantify the negative effects of runaway production on California’s signature feature film industry. FilmL.A. Research endeavored to track the movies released in 2013 to determine where they were filmed, why they filmed in the locations they did, and how much was spent to produce them.
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Game of Thrones
2012 ISSN 1433-2620 > B 43362 >> 16. Jahrgang >>> www.digitalproduction.com Deutschland € 14,95 Published by Österreich € 17,– 5 Schweiz sfr 23,– MAGAZIN FÜR DIGITALE MEDIENPRODUKTION SEPTEMBER | OKTOBER 05|12 Pixomondo erobert Westeros Game of Thrones Cinema 4D R14 Element 3D Maya 2013 Seit wann kann C4D Animation für Adobes Workflow-Winner oder sculpten? After Effects Pflicht-Update? AKTUELL FILM & VFX 3D & ANIMATION INTERACTIVE INDUSTRIE DIGITAL ARTSCIENCE & EDUCATION SERVICE GGameame ooff TThroneshrones in München und Stuttgart Sommer, Sonne, Fantasy. Die Effekt- schmiede Pixomondo wurde zuletzt mit dem Effekte-Oscar für ihre Ar- beit mit Martin Scorsese an „Hugo Cabret“ ausgezeichnet. Ein weiteres Highlight ist aber die Arbeit an der US-amerikanischen Fantasy-Serie „Game of Thrones“, für die jede Menge Set-Extensions, Feuer spei- ende Drachen und ein fieses Schat- tenwesen erstellt wurden. DP traf die Pixomondo VFX-Supervisor Juri Stanossek und Sven Martin auf dem diesjährigen Animation Meeting. von Bela Beier er MedienCampus Bayern und filmtools Consult veranstalteten diesen Juli das D15. Animation Meeting im Rahmen des Filmfests München. Wie immer präsentierten Referenten aktuelle Projekte. Mit dabei waren diesmal unter anderem Jonathan Weber von rise|fx, der die Zuschauer hinter die Kulissen der aufwendig inszenierten TV-Serie „Bor- gia“ führte. Den Großteil der Veranstaltung bestritt Pixomondo, zum einen mit den Effek- ten zu „Hugo Cabret“ (siehe DP 2:12) – und zu der mittlerweile gefeierten und vielfach prä- mierten TV-Serie „Game of Thrones“. Die TV-Serie basiert auf dem Roman-Zy- klus „Das Lied von Eis und Feuer“ von George und Sven Martin über die zweite Staffel von also haben wir auch in der Film-Pipeline mit R.
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