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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).  www.aeaf.tv

 

Jeff Capogreco Visual Effects Supervision ILM

ILM Sing Jeff CAPOGRECO

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.  iloura.com.au

 

At AEAF, motion graphics artist Simon Bronson at Method Studios Simon bronson shimmer
will talk about new techniques he has developed, and using unusual
new online sources of inspiration for his work.

Simon Bronson Puts Graphics into Motion at AEAF

Simon bronson shimmer

At AEAF, Simon Bronson, currently Head of Design at Method Studios in Melbourne, will speak about exciting new techniques and tools he has developed for motion design. Based on some of his own recent projects, he will show how he has used motion capture with Cinema 4D, and leveraged plugins like Plexus and Particular to make digital work look less digital. He has also been discovering unusual new online sources of inspiration ranging from Instagram, free assets and 3D Warehouse for SketchUp to mobile apps such as Trimaginator, Glitch! and 8bit Photo Lab.

Digital Media World talked to Simon about his background and what led him to become a motion graphics artist who likes experimenting and using the environment and people around him as direct inspiration for his work. “I came to design in a roundabout way, having first studied film and photography,” he said. “It also comes from working my way up in video production, from carrying tripods for camera operators, to sound recording and then as a video editor.

AEAF 16 - 17 August 2016
Register to attend AEAF 2016

AEAF Speaker Lineup & Session times at a glance

16 August

AEAF VR Hub - VR projects  for you to experience  throughout the event

11am 16 August
PRODUCING LONG FORM ANIMATION
Practical advice on how to get animated features, TV series and other long form projects off the ground and into production.

Stefan Wernik
Co-Director of The Magnificent Itch
themagnificentitch.com.au

12 noon 16 August
VR/360 PRODUCTION
THE PRACTICALITIES OF CREATING VIRTUAL REALITY

Tracey Taylor, Executive Producer
and General Manager
The Pulse
experiencethepulse.com

1pm LUNCH BREAK & Networking

2pm 16 August
FROM GEARS OF WAR TO LEGO STAR WARS - DECONSTRUCTING GAME CINEMATICS
Dane Maddams Executive Vice President
& Mick Hammell
Head of production
plasticwax.com

3pm 16 August
NEW TECHNIQUES IN MOTION GRAPHICS
Simon Bronson
Motion Designer / Head of Design - Method Studios, Melbourne
simonbronson.com
methodstudios.com.au

4pm 16 August
VR EXPLODED  - A VIRTUAL RIDE THROUGH LIQUID, REFLECTIVE BLOCKS AND CRYSTAL SIMULATIONS
Simon Maddison VFX Supervisor Cutting Edge
and CG & VR Lead, Aevar Bjarnason
cuttingedge.com.au

5pm 16 August
PANEL SESSION - with the day's speakers
IS OUR FUTURE REALITY VIRTUAL? - VIRTUAL & AUGMENTED REALITY - IMMERSIVE PRODUCTIONS

5:30pm 16 August
NETWORKING and R&R in the Chauvel bar

17 August

10am 17 August
CINEMA 4D AND AFTER EFFECTS  Innovative use of Cinema 4D and
After Effects in creating motion graphics
Tim Clapham
Creative Director
Luxx
luxx.com.au

11am 17 August
TITLE SEQUENCE DESIGN
Scott Geersen
Director and Titles Designer
Substance
sbstnc.co

12 noon 17 August
Colin Renshaw
VFX Supervisor Co-founder Alt.vfx
altvfx.com

1pm LUNCH BREAK & Networking

2pm 17 August
Glenn Melenhorst
VFX Supervisor
Iloura
iloura.com.au

3pm 17 August
Paul Butterworth
Visual Effects Supervisor - Director
Animal Logic
animallogic.com
Paul will share the innovations and creative processes as they evolved on his
most recent projects at Animal Logic

4pm 17 August
WETA DIGITAL
Weta Digital is one of the world’s premier visual effects companies. Led by Senior Visual Effects Supervisor Joe Letteri,
Weta Digital is known for uncompromising creativity and a commitment to developing innovative technology.
Weta will talk about their ground breaking VFX work - detailssoon,  keep looking.
wetafx.co.nz

5pm 17 August

DISRUPTION - The future of VFX

PANEL SESSION with AEAF's speakers about disruptive new ways of creating, distributing and experiencing visual content using: Cloud services - Light Field technology - VR and immersive storytelling and more.

5:30pm 17 August
Drinks Reception & networking

7-8:30pm 17 August
AEAF AWARDS

After Awards drinks and networking

REGISTER TO ATTEND

AEAF Schedule

Speaker Program
11am  - 5pm 16 August
10am - 5pm 17 August

5:30pm 16 August
NETWORKING and R&R in the Chauvel bar

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

AEAF VR Hub - VR projects  for you to experience  throughout the event

Chauvel Cinema 249 Oxford St Paddington 2021

Venue and Registration details

Full two-day Speaker program and AEAF Awards Screening,

Early Bird price with discounts for multiple bookings

1 person $145
2 - $138 per person
3 - $131 per person
4 - $125 per person
5 - $119 per person
plus gst

AEAF Awards Screening ONLY -  with discounts for multiple bookings
1- person $32
2 - $30 per person
3 - $38 per person
4 - $27 per person
5 - $25 per person
plus gst

  REGISTER TO ATTEND
For enquiries 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

Chauvel Cinema 249 Oxford St Paddington 2021

Simon bronson IMG 1968

“Discovering VFX through making no-budget film clips, I did an internship at a broadcast graphics house. I fell in love with After Effects and started educating myself by learning from as many talented artists as I could. I'm still learning all the time from my colleagues and the freelancers who work with Method Studios.”

His sources of inspiration start with his years growing up in the 1970s and ‘80s - he still feels a pang of nostalgia for the early computer graphics and video games. Simon said, “There is a minimalism there that had as much to do with the limitations of computer power as with aesthetics. As a teenager I loved to develop and print my own black and white photography, probably more than the capture of the subject matter itself. I suppose I'm caught between these two worlds.

“One of my idols is David Lynch who is very low-tech and is a master filmmaker. He is one of the true 20th century artists who lets his audience bring their own interpretation to his work rather than shoving it down their throats. I'm very impressed with Elastic’s Patrick Clair and Raoul Marks’ work, in particular their ‘True Detective’ titles, which have been a benchmark for titles over the last couple of years. Clients are always referencing those titles!

Simon bronson Toyota Prius

"Seeing the talented artists who have talked at the events I have been speaking at, such as Pause Fest and Melbourne Motion, is also inspiring, from character designers to VFX wizards and illustrators.”

Simon is pleased to see now that motion graphics are no longer confined to user interfaces in films or, as he describes it, “funky logo resolves for Coke”. He said, “They're part of our lives everyday. When we look at our smart phones, the principles of motion design are built into the operating systems and apps to seduce us and to keep us engaging with them."

Simon has made a speciality of using certain plugins such as Form, Particular and Plexus in new, original ways. He passed on some tips on how to seek out the ones that will work for a particular artist or project, and make the most of it. “You have to do some digging to find out what pieces of software are being used for pieces you like, but keep in mind they're not a magic button to great work. I keep my eye on aescripts to see what tickles my fancy and play around seeing what they can do and how I can use them in my own workflow. I often share requests, questions or experiments with developers, which can be beneficial for both parties.

Simon bronson Pause method

“Plugins are a lot of fun, but it's so easy for them to become recognisable once everyone has jumped on the bandwagon and that certain look is established.  Using them sparingly and in different ways within a piece with strong design fundamentals is a way to stand out from the crowd.”

Because telling stories is the heart of all graphics projects – advertising, idents, projections, music videos and others - Simon also shared a few ideas on some processes he goes through, with his team or clients or just himself, that help turn stories into graphical elements he can build designs from.

”Working out the core concept, desired audience and feeling to be conveyed is the bedrock of the project,” he said. “Usually we gauge the direction from collecting a few pages of reference material and presenting them in PDF form. Pinterest has become my best friend. Once you've found a great image, it can suggest similar material or link you to other directions, organically.

Simon bronson MANUA

“When the style is narrowed down, a style frame or two serves as the ‘beauty frame’ that will often help convince the agency and client that this piece is going to look great! Storyboarding is essential, whether it be rough sketches while doodling during a conference call, up to refined boards from a professional illustrator.

“Depending on size, the complexity of the project will determine how big a team is necessary and how to run it. Some of the projects I work on at Method Studios can range from a solo project to a team of ten in-house artists plus freelance talent. No two jobs are alike and it's important to be flexible, especially with anxious clients who need regular reassurance.”

Simon also considered motion design from the point of view of the audience. “To most people, the animation might be the most memorable part of a project - it’s what they first notice, it sticks with them - but it’s only a small part of it.

"For an artist, though, a good design is probably the foundation, before you start to think about animation. Then you can consider the brief, audience and what assets there are to work with. Is this a 2D or 3D project? What if this object spun like this, how about we use that cool plugin we’ve been dying to try? And so on. While we do need to consider animation from an early stage, we usually produce an animatic as the framework for the entire project first. But, once the animatic is approved, the fun stuff begins!”  www.aeaf.tv