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Geoffrey Hancock has been evolving for over 10 years in visual effects, he worked at Gajdecki Visual Effects, Rainmaker and CIS Vancouver, the latter of which is now Method Studios. Geoffrey has worked on films like I Robot, VANTAGE POINT or NIGHT AT THE MUSEUM. This is his third collaboration with Clint Eastwood, he oversaw the effects of CHANGELING and INVICTUS. Ollie Rankin worked at Weta for the first two LORD OF THE RINGS and then joined the teams of MPC and has worked on films such as KINGDOM OF HEAVEN, WATCHMEN or HARRY POTTER AND THE HALF-BLOOD PRINCE. For the occasion of INVICTUS, Ollie joined CIS Vancouver.

John Knoll joined ILM in 1986 as motion control camera operator to work on INNERSPACE and WILLOW. He will then work on THE ABYSS. He's promoted as VFX Supervisor in 1990 for the film THE HUNT OF THE RED OCTOBER (with Scott Squires). He will oversee the PIRATES OF THE CARIBBEAN and STAR WARS trilogies. He will also participate in MISSION TO MARS, SPEED RACER, AVATAR or recently RANGO. He is with his brother Thomas, one of the creators of the software Photoshop. He received nine awards including the Oscar for Best Visual Effects for PIRATES OF THE CARIBBEAN: DEAD MAN'S CHEST and more than 20 nominations. In the following interview, he talks about his work on MISSION IMPOSSIBLE: GHOST PROTOCOL that marks his return on this franchise since he had supervised the effects of the first MISSION IMPOSSIBLE.

Matt Jacobs arrived at Tippett Studio in 1997. As a compositor, he has worked on films such as MISSION TO MARS, HOLLOW MAN or BLADE II. And then as Lead compositor, he takes care of the films MEN IN BLACK II, MATRIX REVOLUTIONS or CONSTANTINE. In 2007, he will oversee the effects of THE GOLDEN COMPASS then TWILIGHT SAGA HESITATION and TEMPTATION and not forgetting HARRY POTTER AND THE DEATHLY HALLOWS: PART 2. In the following interview, Matt Jacobs talks about his work on IMMORTALS.

Matt Aitken joined Weta Digital just after its creation in 1994. He participated in all major projects of the studio as THE FRIGHTENERS, the LORD OF THE RINGS trilogy, I ROBOT, KING KONG or AVATAR. He won two VES Awards for KING KONG and THE LORD OF THE RINGS: THE TWO TOWERS. In the following interview, he talks about his work on THE ADVENTURES OF TINTIN.

After working on the animated series POLLUX in 2007, Sirius Buisson joined the teams of Buf Compagnie where he worked on projects such as SPEED RACER, AVATAR or THOR. He was also on set VFX supervisor for ADÈLE BLANC-SEC. He has joined MPC to work on WRATH OF THE TITANS. In the following interview, he talks about his work as supervisor of the short film WELCOME TO HOXFORD.

Otto Thorbjørnsen joined Storm Studios in 2005. He worked on films like DEAD SNOW and THE TROLL HUNTER. In the following interview, he talks about his work as a VFX supervisor on the film KING OF DEVIL'S ISLAND.

Yanick Wilisky is back on The Art of VFX. After explaining his work on SOURCE CODE, he explains to us now his work on BARNEY'S VERSION.

Ara Khanikian is back for the third time on The Art of VFX. After telling us about his work on JONAH HEX and RESIDENT EVIL: AFTERLIFE 3D, he explains the work of Rodeo FX on THE THREE MUSKETEERS.

Erik Nash began his career in 1979 on the film STAR TREK: THE MOTION PICTURE. He joined Digital Domain in 1995 and work on projects like APOLLO 13, TITANIC or KUNDUN. He then became VFX supervisor and take care of the effects of films like RED PLANET, I ROBOT, PIRATES OF THE CARIBBEAN: AT WORLD'S END. In the following interview, he talks about his work on REAL STEEL.

After telling us about his work on THE ADJUSTMENT BUREAU, Mark Russell is back on The Art of VFX. He talks about his work on the film TOWER HEIST.