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James Rogers works in the world of the Australian visual effects for over 15 years. After a journey by Square USA, where he worked on FINAL FANTASY, he then worked as VFX supervisor on ANIMATRIX: THE FINAL FLIGHT OF OSIRIS. He joined Postmodern in 2003 where he supervise the visual effects of many commercials and movies such as DAYBREAKERS, AUSTRALIA and KNOWING. James Rogers talks to us about his work on DAYBREAKERS.

Jeff Campbell has evolved in visual effects for 17 years as an animator, compositor, and VFX Supervisor. He has added his unique artistic vision to the benefit of numerous feature film projects such as FIGHT CLUB, X-MEN and THE CELL. He join Spin in 2003. His most recent VFX Supervisor credits include, 20th Century Fox’s “MAX PAYNE” and now Sony Screen Gems “LEGION”. He talks about his work on LEGION and the challenge that were the wings of the Angels.

Little back of few months with this interview of Nicolas Aithadi which talks about his work on HARRY POTTER AND THE HALF BLOOD PRINCE. After a few years in the videogame (FINAL FANTASY X, TOMB RAIDER 5) and french movies (Vidocq, Asterix Mission Cleopatra) Nicolas Aithadi took on the Londonian Adventure and joined The Moving Picture Company and worked on such projects as TROY, ALEXANDER, CHARLIE AND THE CHOCOLATE FACTORY. He is now working on the next installment of the HARRY POTTER franchise.

Alessandro Cioffi has built his knowledge of visual effects by working in various studios in Italy, London or Germany. He participated to the compositing of such movies as 300, KINGDOM OF HEAVEAN or SWEENEY TODD. He joined the Trixter in 2007 and NINJA ASSASSIN mark its first movie as visual effects supervisor. He talks about his work on NINJA ASSASSIN and how Trixter has managed this ambitious project.

Kevin Mack begins his visual effects career as model painter on THE ABYSS. Then he joins Digital Domain as matte painter, he will work on this position on films such as TRUE LIES or THE FIFTH ELEMENT. He becomes then a VFX supervisor of WHAT DREAMS MAY COME, FIGHT CLUB or VANILLA SKY. In 2002, Kevin Mack leaves Digital Domain to join Sony Imageworks where he will supervise SPEED RACER, GHOST RIDER or BIG FISH. In the interview which follows, he speaks to us about his work of visual effects supervision on PERCY JACKSON.

Deak Ferrand has worked for more than 15 years in visual effects as a matte painter. He was on the team that won an Academy Award for the Best Visual Effects for WHAT DREAMS MAY COMES. He has since founded his own company, Hatch, and has participated in a large number of film projects such as RIDDICK, CONSTANTINE, SHOOTER, THE ASSASSINATION OF JESSE JAMES, RED CLIFF and WOLVERINE. In the interview which follows, Deak speaks to us about its course and its work on THE BOOK OF ELI.

Jonathan Fawkner is working since 10 year at Framestore. He has worked on the most biggest projects of the studio such as V FOR VENDETTA, THE GOLDEN COMPASS or THE DARK KNIGHT. In the following interview, he talks about the challenges encounter on AVATAR.

Having worked as digital compositor at Mikros Image on films such as THE DALTONS, LOCKED OUT or TELL NO ONE, Cédric Fayolle becomes visual effects supervisor on PRICELESS. It since supervised several films like THE FOX AND THE CHILD, TOKYO!, THE VILLAIN. In the interview which follows, he speaks to us in particular about his collaboration with the director.

Mathilde Tollec entered at BUF in 2004. She became visual effects supervisor on the film RICKY and she has just ended the supervision of AVATAR.

Evolving for more than 10 years in the French and European postproduction, Hassan El Youbi worked in the most part of the Parisian studios as Mac Guff, Sparx or Duboi. He joins the teams of Weta Digital in summer 2008 for AVATAR.