Grant Anderson

Work History

• 

  CEO

  Mirrorscape

  June 2019 - Present

  West Hollywood, California, United States

  Launched startup to develop the future of social gaming in augmented reality. Led development team using Unity/C#, AR Foundation, ARKit and ARCore to create go-to-market MVP.
• 

  Independent AR/VR Producer/Consultant

  Self-employed

  January 2017 - Present

  Greater Los Angeles Area

  Independently consulting and producing interactive, immersive AR/VR content in conjunction with leading production companies, studios, and directors as well as developing original IP and platforms. Completed a high-end VR video project in conjunction with Apple and Legend. A high-profile AR/VR series is in development along with an AR social media platform targeting real-world gaming communities.
• 

  Producer

  Marvel Studios

  April 2018 - June 2019

  Burbank, CA

  Client-side producer for Marvel Studio’s first high-end location-based virtual reality experience, "Avengers: Damage Control" in conjunction with ILMxLab and The Void.
• 

  Creative Director

  Dreamscape Immersive

  November 2018 - May 2019

  Culver City

  Directed and provided creative direction for the "DreamWorks Dragons Flight Academy" virtual reality experience. Involved with script, story, visual design, and interactive development for the project. Provided direction and supervision for internal artists as well as contracted visual effects vendor.
• 

  Executive Producer

  Jaunt VR

  May 2015 - January 2017

  Los Angeles

  Formed Jaunt Studios, the production arm of Jaunt VR, to create groundbreaking virtual reality content and push forward the creative possibilities of cinematic VR.
  
  • Built Jaunt Studios from the ground up in Santa Monica including buildout of facility and staffing of employees including administration, creative/production, post, and IT.
  
  • Sourced, creatively developed, produced, and shot 4 of platform’s top 10 productions including a #1 piece of content Escape the Living Dead.
  
  • Collaborated with director Doug Liman on Jaunt’s first piece of serial episodic content, Invisibles. Worked with Doug and his team testing new camera techniques for movement and close-ups both in preproduction and on set.
  
  • Worked with Jaunt’s postproduction team to create efficient workflows for removing artifacts from the Jaunt stitching algorithm. Worked with engineering to further refine computational photography algorithm increasing visual quality and final transcode fidelity.
  
  • Repeat trips to Shanghai to assist in establishing Jaunt’s China JV with Shanghai Media Group and China Media Capital. Trained up company production crews and assisted with local productions.
  
  • Established the Jaunt/USC VR Lab at the USC Film School to form a close collaboration between Jaunt and USC students and faculty. Sourced and greenlit several student and faculty films to explore the boundaries of cinematic VR that include CGI, animation, interactivity, and advanced techniques.
  
  • Wrote the "Jaunt VR Field Guide: Best Practices in Cinematic VR" as a guide for filmmakers entering into virtual reality production.
  
  • Worked with outside vendors to develop rigging solutions for the Jaunt ONE camera including remote control dolly, cablecam, Spidercam, and drones.
  
  • Hosted industry seminars covering VR storytelling, filmmaking techniques, and best practices.
  
  • Worked with Unity developers to prototype interactive capabilities for cinematic VR from a creative perspective.
• 

  Executive Director

  Sony Pictures Entertainment

  April 2010 - March 2014

  Culver City, CA

  • Provided seminars on the theory and creative application of shooting high-quality 3D to over four thousand industry professionals from the DGA, PGA, and ICG.
  
  • Consulted with Ang Lee, Ridley Scott, and Baz Luhrmann on their 3D films.
  
  • Managed and creatively supervised 3D conversion of "The Green Hornet" for Columbia Pictures with Michel Gondry and Seth Rogen, established production pipeline to review, archive, and conform work from 6 conversion vendors working 24/7 worldwide.
  
  • Provided assistance shooting the 2010 World Cup in 3D and created 2-minute highlight reels that were streamed via satellite to Sony Stores worldwide advancing Sony’s 3D marketing efforts.
  
  • Supervised conversion of "2012" for Columbia Pictures in China, worked in China for over 2 months, trained local artists in improved shot quality, overhauled conversion company’s screening room and workflow resulting in more efficient reviews and a higher quality conversion.
  
  • Co-developed a workflow and white paper enabling 3D on a near 2D budget, demonstrated this workflow as on-set stereographer for 3D episodes of "Days of our Lives", "Happy Endings", and on Screen Gem’s "Battle of the Year".
  
  • Streamlined workflow for multiple 3D television projects winning the International 3D Society’s Lumiere award for Best Live Action 3D TV Short on Sky UK’s "The Week Before Christmas".
  
  • Established a production services group pairing Sony technology and workflows with creative projects, identified 5 projects that leveraged assets and production talent across all Sony divisions to develop top-notch 3D and 4K content advancing the mediums and furthering Sony’s interests.
  
  • Evangelized Sony’s stereoscopic 3D and 4K/UltraHD efforts via worldwide speaking engagements, presentations, and on-camera interviews resulting in wider exposure for Sony and good press.
  
  • Interfaced with Sony Electronics on design of future products resulting in better feature match and usability in real world set conditions.
• 

  President/Chief Creative Officer

  Creative Monster Productions

  October 2007 - June 2012

  West Hollywood, CA

  Co-founded Creative Monster Productions, a commercial, film, television, and multimedia production company.
  
  • Managed day-to-day operations, production slate, and creative development resulting in profitability within first year of operation.
  
  • Supervised visual effects and stereo 3D on productions providing a full suite of services to clients.
  
  • Produced dozens of commercials resulting in two Telly awards and an MI6 award.
  
  • Designed, developed, and programmed multiple websites using Flash and HTML5 for clients.
  
  • Developed first film moving Creative Monster from commercials into feature production.
• 

  Senior CG Supervisor

  Sony Pictures Imageworks

  February 2001 - October 2007

  Culver City, CA

  Worked on multiple films as lighter/compositor then as CG Supervisor & Stereo 3D Supervisor.
  
  • Supervised stereoscopic 3D on "Beowulf" and "Cloudy With A Chance of Meatballs", assumed creative responsibility for Cloudy during schedule constraints with 80% of film remaining, managed a specialized team of 10 artists finalizing 3D version of Cloudy under very tight deadlines.
  
  • Supervised a team of nearly 100 digital artists on some of the largest sequences in "Spider-Man 3" completing over 200 shots in the film.
  
  • Directed teams in NY and LA for the capture and reconstruction of nearly six city blocks for two key sequences in "Spider-Man 3", oversaw design and implementation of building pipeline and photogrammetry toolset drastically reducing the time required to model and render buildings.
  
  • Promoted to CG Supervisor on "Spider-Man 2" finalizing key sequences where help was needed, team won the Academy Award for visual effects.
  
  • Worked as lighter/compositor on other key films including "Spider-Man", the Academy Award winning short "The Chubb Chubbs", "Lord of the Rings: The Two Towers", "Early Bloomer", "Matrix Reloaded", "Charlie’s Angeles: Full Throttle", "The Haunted Mansion", and "Aviator".
  
  • Led look development on the "Matrix Reloaded" setting standards used throughout the film.
  
  • Developed pipeline workflows, standards implementation, and in-house software packages resulting in increased productivity for artists across all films.

  

• Senior Producer

  Stan Lee Media, Inc.

  October 1999 - December 2000

  Encino, CA

  Worked as producer establishing the online animation and advanced media studios.
  
  • Established the studio’s digital animation production facility and pipelines allowing for creation of studio’s digital productions in an efficient and cost-effective manner.
  
  • Produced the streaming, Flash animated series "The Accuser" becoming one of the first streaming comics online to build a broad audience.
  
  • Formed Squnkworks, Stan Lee’s advanced media department, developing new forms of media bridging the Internet, film, and television.
  
  • Initiated creation of the company’s 3D studio to deliver advanced 3D interactive entertainment.
  
  • Managed a team of artists and writers to develop and produce "Chrysalis", the first crossover 3D animated television show and online interactive story.
  
  • Redesigned the main StanLee.net site resulting in cleaner design and increased usability.
  
  • Created and developed online games, creative tools, and broad user communities increasing user engagement and retention at the Stan Lee websites.
  
  • Identified new technologies and their potential application to unique storytelling methods.
  
  • Negotiated deals with strategic partners, finding funding and marketing partners for various projects.
• 

  Technical Director

  Walt Disney Animation Studios

  November 1997 - October 1999

  Burbank, CA

  Worked as lighter/compositor on Walt Disney’s "Dinosaur".
  
  • Performed lighting and rendering using RenderMan, composited scenes in Illusion, and created effects animation with Maya for dozens of shots in the film.
  
  • Wrote basic shaders using the RenderMan shading language providing looks for the film and improving artist productivity by outputting utility image layers.
  
  • Collaborated with our in-house developers to design and improve a custom lighting package for the facility cutting down artist lighting time significantly.
  
  • Implemented the film’s lighting and compositing production pipeline, developed several automation scripts written in Perl reducing or eliminating tedious actions and saving artist time.
• 

  Technical Director

  Digital Domain

  September 1996 - September 1997

  Venice, CA

  Worked as digital imaging coordinator and artist on Jim Cameron's Academy Award winning "Titanic".
  
  • Performed lighting, compositing and character integration using a custom RenderMan pipeline.
  
  • Learned traditional animation techniques while animating digital extras.
  
  • Utilized the motion capture process as it pertains to character animation.
  
  • Coordinated the production’s digital image data management, developed dozens of scripts automating processes and tracking results in a custom database providing instant access to artists via webpage.
  
  • Designed and implemented the internal Titanic production database and web site using Perl and C++.

  
• 

  Senior Software Engineer

  Apple Inc.

  May 1994 - August 1996

  Cupertino, CA

  Worked as software engineer for the QuickTime teams in Software Configuration Management.
  
  • Supported QuickTime, QuickDraw, QuickDraw 3D, and QuickTime VR groups. Credited in the release of the first commercially successful virtual reality content on CD-ROM, "Star Trek: The Next Generation Interactive Technical Manual".
  
  • Automated the application configuration and release process for several of Apple's key multimedia product technologies utilizing a proprietary build system.
  
  • Developed and coded tools extending build system using C/C++ to allow for build metrics collection and automation of other high-level builds reducing build time and eliminating tedious data entry.
  
  • Coordinated the international localization and release process for versions of Apple's software in many countries worldwide.