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Full Speaker Details with bios and Session Descriptions

AEAF 2017 Speaker Program

Speaker Program
10am  - 5pm 15 and 16 August

AEAF Awards
6pm 16 August

AEAF is looking for, supervisors, animators and industry experts to speak at the 2017 Speaker Program, 15-16 August. Are you interested in presenting your work, ideas or vision to fellow VFX and digital artists? If you would like to be on the AEAF program, please email Sean Young at This email address is being protected from spambots. You need JavaScript enabled to view it.

Weta Digital

 Weta planet apes

Weta Digital will give behind the scenes accounts of their latest major projects at AEAF. The Academy Award winning studio is one of the world’s best known visual effects companies, recognised for their performance-driven digital characters in projects ranging from ‘Avatar’ to ‘The Adventures of Tintin’ and ‘The Hobbit’ trilogy. Stay tuned for more exciting information coming soon.

Most recently the team has been working on ‘Guardians of the Galaxy: Vol 2’, ‘War for the Planet for the Apes’ and ‘Valerian and the City of a Thousand Planets’. One of these projects will be the subject of the company’s presentation.


Animal Logic’s Rob Coleman to Speak  on ‘The LEGO Batman Movie’

Head of Animation at Animal Logic, Rob Coleman, will speak at AEAF in August to give attendees a glimpse behind the scenes of ‘The LEGO Batman Movie’, showing his team's recent work.

Rob Coleman cjpg

Head of Animation at Animal Logic, Rob Coleman, will be among the speakers at AEAF in August to give attendees a glimpse behind the scenes of ‘The LEGO Batman Movie’, showing the Animal Logic team's recent work.

Rob Coleman is a two-time Oscar nominee for his animation work on ‘Star Wars: The Phantom Menace’ (1999) and ‘Stars Wars: Attack of the Clones’ (2002). He has also been nominated for two BAFTA Awards for his work on ‘Men In Black’ (1997) and ‘The Phantom Menace’ (1999). He spent 14 years at Industrial Light and Magic and Lucasfilm Animation working closely with George Lucas. He has built and supervised animation teams in Canada, the United States, Singapore and Australia. He was the Head of Animation on ‘The LEGO Movie’ (2014) and was the Animation Supervisor on ‘The LEGO Batman Movie’ (2017).


Jeff Capogreco Visual Effects Supervision ILM


Jeff Capogreco joined Industrial Light & Magic in 2014 as an Associate VFX Supervisor on Jurassic World. He has a post graduate diploma in Computer Animation from Sheridan College and a successful 10+ year career producing top quality imagery for feature films. Prior to ILM he worked at WETA Digital as a VFX Sequence Supervisor on such films as The three Hobbit films, Rise of the Planet of the Apes, The Adventures of Tintin and Avatar.

Founder and creative director Ian Kirby and 3D artist Luke Bicevskis are coming to speak at AEAF in August from award-winning creative studio The Sequence Group, based in Vancouver.


The Sequence Group Ian Kirby and Luke Bicevskis

Two artists are coming to speak at AEAF in August from award-winning creative studioThe Sequence Group, based in Vancouver. In business for the last 11 years, the group specializes in design, animation and visual effects. Founder and creative directorIan Kirby, and 3D artist Luke Bicevskis who is also creative director at Sequence’s new Melbourne, Australia office, will talk about their work and company.

As creative director, Ian works at Sequence as director, producer and visual effects artist. He has extensive experience in film, television and gaming and works closely with production studios and video game developers with expertise in the narrative expansion of new and existing properties. Ian’s hands-on background in animation, visual effects and live action enables him to undertake and manage a broad spectrum of mediums and projects.

Ian kirby sequence

Sequence Luke Bicevskis

Over his career, Luke has worked as a designer, illustrator, compositor and 3D artist on a number of award-winning projects across advertising, documentaries and animation. He won MIFF’s Best Short Documentary award for his illustrative work on Lukas Schrank's ‘Nowhere Line: Voices from Manus Island’. At Sequence, Luke has applied his skills to projects for clients including Microsoft, Disney and Slack.

Sequence opened in 2006 with an initial focus on broadcast design and motion comics. Ian and art director Andrew West worked together on one of the first motion comics, ‘Broken Saints’, a style that readily appealed to clients looking for backstory for films including ‘I Am Legend’, ‘Inception’ and ‘Prince of Persia’.

Meanwhile the Sequence team grew and the studio now handles visual effects and broadcast design for most types of production from concept through completion. Their team’s experience includes the‘Batman’and‘Harry Potter’franchises,Halo: Fall of Reach, Marvel: Avengers Alliance 2 Civil WarandStar Wars: Commander, as well as commercials blending live action with VFX. Other projects are'Batman: Black and White'and Sony Santa Monica’s video games‘Bound’and‘What Remains of Edith Finch’.

Company evolution notwithstanding, Sequence retains design and artistic expression as the starting point for projects. Recent clients include 343 Industries, Disney Interactive, ABC, Kabam, Dallas Stars, Warner Brothers, 20th Century Fox, Sega and DC Entertainment.

Sequence’s work has received Awards recognition several times, including an IAWTV Award, a Bass Award and an Audience Award at the Sundance Online Film Festival. The team also won an Accolade Global Film Competition Award for excellence in animation for their work on ‘Halo: Fall of Reach’. 

Iloura’s VFX Supervisor Lindsay Adams

Lindsay Adams w

Lindsay Adams from Iloura animation and visual effects studio in Melbourne.

Lindsay has worked in visual effects for over 15 years at several studios including ILM, MPC and Animal Logic as well as Iloura. Working within his specialty in compositing, he was nominated for a VES award for Outstanding Compositing in a Photoreal Feature for his work on ‘Mad Max: Fury Road’. Lindsay's work also includes ‘The Avengers’, ‘300’ and ‘The Lord of the Rings: The Return of the King’. In 2017 he supervised the visual effects for HBO’s ‘The Leftovers’ which filmed in Australia.


Animation Director Stefan Wernik to Present at AEAF

Stefan job sgch

Stefan Wernik, a co-director at The Magnificent Itch in Sydney, will be a speaker at AEAF in August. As an experienced animator and director, Stefan sees animation getting a better reception in Australia now - especially for commercials and short form work - but believes that Australia’s animators and industry as a whole will benefit most from more opportunities to work on locally produced TV series, feature films and other long form projects. Hands-on practical advice on how to get such projects off the ground and into production will be the focus of his presentation.

AEAF Speaker Lineup at a glance

Paul Butterworth
Visual Effects Supervisor - Director
Animal Logic

Paul will share the innovations and creative processes as they evolved on his
most recent projects at Animal Logic

VR Exploded  -  a Virtual Ride through Liquid, Reflective Blocks and Crystal Simulations
Simon Maddison
VFX Supervisor
Cutting Edge

Colin Renshaw
VFX Supervisor Co-founder Alt.vfx

Motion Graphics
Simon Bronson
Motion Designer / Head of Design - Method Studios, Melbourne

Title Sequence Design
Scott Geersen
Director and Titles Designer

'From Gears of War to Lego Star Wars - Deconstructing game cinematics with Plastic Wax'
Dane Maddams
Executive Vice President
Plastic Wax

Mick Hammell
Head of production
Plastic Wax
Dane and Mick will be putting together their collective experience and expertise in games cinematics to reveal what it takes to produce top notch campaigns for games. Dane combines his vision as producer/director with Mick’s perspective as production manager for an interesting session.

Cinema 4D and After Effects - Innovative use of Cinema 4D and
After Effects in creating motion graphics
Tim Clapham
Creative Director

VR/360 Production - The Practicalities of Creating Virtual Reality
Tracey Taylor
Executive Producer and General Manager  
The Pulse

Producing Long Form Animation
Stefan Wernik
Co-Director of The Magnificent Itch
Stefan will talk about the significance and value of producing long form animation projects  - TV series and films - and how the Australian industry will benefit and grow through focusing on long form story and character development. He will also discuss the process and techniques involved in getting this kind of project going and into production.


AEAF Schedule

Speaker Program
10am  - 5pm 16 August
10am - 5pm 17 August

AEAF Awards
Cocktail Reception 6pm 17 August
AEAF Awards Screening 7:30 - 9pm
After Awards drinks and networking

Venue and Registration

Full two day Speaker program and AEAF Awards Screening Early Bird price $195 inc gst AEAF Awards Screening only $35 REGISTER NOW

For queries or special requests including group discounts  please call or email us. This email address is being protected from spambots. You need JavaScript enabled to view it.Tel 02 9332 2822

Like most young children Stefan watched a lot of animated productions as a kid growing up in England. But when he saw Disney’s ‘Fantasia’ at age 7, he became determined to learn animation – without even realizing that it was a ‘real profession’. “I realize now that this film’s style and artwork, inspired by German Expressionism, struck a chord in me, and my fascination with animation grew,” Stephan said.

“My animation style today comes in part from my Polish family background and Poland’s long history of illustrative poster art – quite different to the photoreal 3D animation you see in many modern feature films. My Dad had also studied art and encouraged me.”

Later, Stefan earned a degree in graphic design, specializing in animation, and at university spent time in the film department learning about moviemaking as well. While he had the chance, he tried live action film production, but at that time especially, low-budget-filmmaking was quite cumbersome. Also, making films requires relying on lots of people and external services. Even though it means the animator is responsible for absolutely everything, animation still gives the creator more control.

Stefan job greaseball

Stefan learned to animate on the brink of computer animation, and could immediately see that it was the future of his art. He continued to pursue a 2D animation style, but borrowed some of the more expressive, subtle characteristics of 3D to make his work more dynamic.

Stefan, now a resident of Australia, is Co-Director of The Magnificent Itch animation and design studio in Sydney. He sees animation getting a better reception in Australia – in particular for commercials and other short form work where animation is being used in more sophisticated, varied ways. He is especially enthusiastic about branded short films of the type produced for John Lewis in recent years, with memorable stories and developed characters.

But interestingly, he feels that the Australian animation industry and pool of animators could benefit tremendously from more opportunities to work on locally produced, long form projects such as TV series and feature films. How this can be achieved will be the topic of his presentation at AEAF in August.

Stefan job EPA air

“Apart from creating lots of jobs, projects like this improve an artist’s work substantially,” Stefan said. “The talent is here but, having worked on several kids' TV series as director and worked in development in on many others, I think that every animator needs chances to work toward a sustained story arc and maintaining a complex character’s personality in many different situations. An artist may in fact go on to do mainly commercial and short form work, but having those skills will show in the quality of his work, regardless. For those reasons, I feel it’s worth cultivating those longer projects both from the point of view of sustaining our industry and training up individual animators.”

At this point in his career, after working as an animator and a director in the UK and in Australia, as a freelancer and company owner, he sees the value in a company staying small and nimble. “There is pressure on companies to be flexible – to be able to access freelancers, work remotely, and ramp operations up and down to match the flow of work.