Five VFX Oscar Contenders
Wednesday, March 9th
VIEW Conference presented, in partnership with OGR and VFX Festival, a free virtual panel discussion with overall visual effects supervisors behind five of this year’s Oscar contenders for best visual effects.
Wednesday, March 9th, 10am PST / 6pm UK / 19:00 CET
The panel includes:
- Paul Lambert, DUNE
- Swen Gillberg, FREE GUY
- Charlie Noble, NO TIME TO DIE
- Christopher Townsend, SHANG-CHI AND THE LEGEND OF THE TEN RINGS
- Kelly Port, SPIDER-MAN: NO WAY HOME
The moderator is Carolyn Giardina, Tech Editor for the Hollywood Reporter.
Throughout his career, Paul has excelled in combining both the creative and technical aspects of visual effects, and many novel techniques and memorable visuals have originated from his projects. Notably, Paul is the sole inventor of the bluescreen keying algorithm ‘IBK’ which is used in Nuke, the visual effects industry’s compositing software of choice.
In 2008, Paul was one of the architects of the on-set lighting capture and processing techniques for ‘The Curious Case of Benjamin Button’. This was instrumental in creating the photorealism of an aged computer-generated Brad Pitt, which led to a VFX Oscar for the team’s work. This lighting capture technique is still in use to this day.
On ‘Blade Runner 2049’, Paul was the driving force behind the look of the critically-acclaimed Joi hologram and the ‘threesome’ scene between Joi, Mariette and K, as well as the Visual Effects So-ciety award-winning Los Angeles environments.
For ‘First Man’, Paul conceived the term ‘in camera visual effects’ by the use of a huge LED screen which displayed interactive backgrounds used in principle photography. Visuals were also filmed using miniatures and the innovative reuse of archival footage, all culminating in the Oscar award in 2019
Swen Gillberg was nominated for an Academy Award® for his work on “Real Steel.” He has been focused on the integration of live elements and CGI for more than two decades. He began his VFX career in 1997 and has been a CG Supervisor on features, including: “G.I. Joe: The Rise of Cobra,” “Percy Jackson & The Olympians: The Lightning Thief,” “Pirates of the Caribbean: At World’s End” and “Letters from Iwo Jima.”
His 3D integration credits include: “A Beautiful Mind,” “The Day After Tomorrow,” “The Mummy: Tomb of the Dragon Emperor,” and more. Gillberg was the on-set visual effects supervisor for “Jack the Giant Slayer,” and has supervised plate photography on set for “XXX,” “The Mummy: Tomb of the Dragon Emperor,” “Stealth,” “Flags of Our Fathers,” “Red Planet” and “Enders Game.” He was visual effects supervisor on “Night at the Museum,” “Fast and Furious 7” and Captain America: Civil War. Recently he was additional visual effects supervisor on Avengers: “Infinity War” and “Avengers: End Game,” and visual effects supervisor on Netflix’s “The Gray Man.”
Gillberg holds a B.S. in structural engineering from U.C.L.A.
Charlie Noble is a VFX Supervisor with over 30 years of experience in the visual effects industry and is one of the co-founders of DNEG. He recently worked as second unit on- set VFX supervisor on Warner Bros. sequel Wonder Woman 1984. Other recent projects as on-set VFX supervisor include The Kid Who Would Be King (second unit), Mission: Impossible – Fallout (additional photography), Pacific Rim Uprising (for which he supervised the main and 2nd VFX unit on-set in Australia) and The Mummy (additional photography).
As the production-side Visual Effects Supervisor on "Spider-Man: No Way Home," Kelly was responsible for guiding the creation of over 2500 visual effects shots.
A member of the Academy of Motion Picture Arts & Sciences since 2008, Kelly has received multiple BAFTA and VES nominations, a Hollywood Film Award, and L.A. Online Film Critics Society award for his visual effects