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.
Paul Lambert, Overall VFX Supervisor, DUNE
Paul Lambert is a Visual Effects Supervisor with 25 years of experience in the motion picture industry. He has collaborated with some of the most acclaimed Directors in Hollywood which culminated in back to back Oscars for his work on First Man and Blade Runner 2049. He has also won and been nominated for multiple BAFTA’s, EMMYs and VES awards.
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
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, Overall VFX Supervisor, FREE GUY
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.
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, Overall VFX Supervisor, NO TIME TO DIE
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).
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).
In 2016, Noble reunited with director Paul Greengrass as production VFX supervisor on the eagerly anticipated return of Jason Bourne, having previously worked with the director on The Bourne Ultimatum, Green Zone and his critically acclaimed biopic Captain Phillips. His work on Bourne earned him his fourth VES nomination.
After Captain Phillips, Noble supervised DNEGs VFX work on Ridley Scott’s biblical epic Exodus: Gods and Kings and on Stephen Spielberg’s Cold War thriller Bridge of Spies, for which he was nominated for Best Supporting Visual Effects at the VES Awards 2016.
Since co-founding DNEG in 1998, Noble has lent his skills to numerous high-profile movies, including Harry Potter & The Prisoner of Azkaban, Attack the Block, Batman Begins, The Duchess and Captain America: The First Avenger. In 2004 he won a Primetime Emmy Award for his work on the HBO series Dreamkeeper.
Christopher Townsend, Overall VFX Supervisor, SHANG-CHI AND THE LENGEND OF THE TEN RINGS
CHRISTOPHER TOWNSEND is a two time Academy Award® nominated Visual Effects Supervisor and Marvel Studios film veteran, having served as visual effects supervisor on Captain America: The First Avenger, Iron Man 3, Avengers: Age of Ultron, Guardians of the Galaxy Vol. 2, Captain Marvel, and most recently, Shang Chi and the Legend of the Ten Rings.His other film credits as a visual effects supervisor include X-Men Origins: Wolverine, Ninja Assassin and Journey to the Center of the Earth.Townsend previously worked as a visual artist and supervisor at ILM on many films including four Star Wars movies, Pirates of the Caribbean: Dead Man’s Chest, The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, The Island, Hulk, A.I: Artificial Intelligence, Space Cowboys, Deep Impact, The Lost World: Jurassic Park, Daylight, Eraser and Congo.
Kelly Port, Overall VFX Supervisor, SPIDER-MAN: NO WAY HOME
An accomplished and award-winning visual effects supervisor, Kelly Port has contributed to more than 30 feature films. In 2019, he was one of the BAFTA and Academy Award nominees in the Best Visual Effects category for his groundbreaking work in "Avengers: Infinity War," realizing over 50 minutes of running time for the fully digital villain character, Thanos. Kelly also received the top honor of Outstanding Visual Effects at VES for Thanos. A task he reprised for the follow-up blockbuster "Avengers: Endgame."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
work.