In-house vfx supervisor for TPO VFX - No Time To Die
Eon Productions
April 2019 - March 2020
Pinewood studios and Soho.
In-house postvis and vfx supervisor for TPO VFX - No Time To Die - Currently awaiting release.
Supervised and managed team of eight vfx artists directly for overall supervisor Charlie Noble completing 200 in-depth finals.
In-house postvis supervisor TPO VFX - Dark Crystal - Age of Resistance
Hensons / Netflix
July 2018 - May 2019
Langley studios and Soho
Development of the Dreamfast look which ultimately informed the prologue. Design of Pluff'm darkening effect. Postvis of the Carriage chase. 10 months of temps and finals.
Sean Mathieson on artofvfx -
Postviz was a bit more extensive for the sequence, choosing the BG plates that would fit the FG puppeteer and carriage footage. We used an in-house team from TPO for the postiz and were able to define 90% of the BGs required for the 5 minute sequence.
TPO also did some postviz work on the Dreamfast sequences using a completely 2D approach in Nuke. While this didn’t end up being the technique we used for the Dreamfast, we did use some of the ideas they developed in the Prologue.
Postvis Supervisor for TPO VFX - Jurrasic World - Fallen Kingdom
Universal Pictures
June 2017 - May 2018
Soho, London
Great VFX report on Jurassic World - Fallen Kingdom, with a little note about our team from overall supervisor David Vickery.
"We also had a little in house team called the Post Office (TPO) which did postviz, they postvized about 600 shots, which kept visual continuity from previz to postviz, ...it really helped" commented Vickery.
Postvis Supervisor for TPO VFX - Mary Poppins Returns
Walt Disney Animation Studios
February 2017 - May 2017
Shepperton studios
Based on set at Shepperton. Creating temps for Rob Marshall and Wyatt Smith.
Jody Duncan in Cinefex no. 163.
At Shepperton, production designer John Myhre and his team built sets representing 1930's London locations, Jack Hughes and Matt Tinsley, an in-house team dubbed 'the post office', provided rough comps on set throughout the shoot. "Rob never wanted to see a greenscreen, even in a rough cut," explained Matt Johnson (vfx supervisor), "So we had people working on these temp comps throughout the course of the shoot."
In-house Senior Postvis - The Commuter
TPO VFX LIMITED
October 2016 - December 2016
Temping up the train journey from Central NYC to Tarrytown for Steve Begg whom states in his artofvfx article -
"Post viz was handled by Matt Tinsley, Jack Hughes and Paul Docherty where they selected and precomped the background footage on Quicktimes for previews and director screenings, which then helped to select background material for the final composites."
Also blocking out the CG train for exterior shots.
In-house Senior Post Viz - Jason Bourne
Universal Pictures
December 2015 - June 2016
Goldcrest
Looking after a team of 5 Nuke artists, compiling temps and taking shots to completion. Also designing and working closely with Chris Rouse (Editor) on the lookdev of the flashback sequences, and ultimately taking these shots to final with the in-house team.
Senior Postviz and Inhouse Compositor - Spectre
Eon Productions
January 2015 - October 2015
Pinewood / Soho
Compiling temps for the editor Lee Smith and director Sam Mendes to sign off on shots before they get turned over to vendors and for studio preview. Using CG models Temp layouts of shots were completed on the Day of the Dead Helicopter chase, Landrover/snowplane chase in Austria, Gecko animation, CG Mouse, and many more.
Working directly with Overall VFX supervisor Steve Begg, completing over 175 finals with Jack Hughes In-house. Monitor replacements, rig removals and respeeds were all completed on 2015's Spectre.
Steve Begg states in the following article...
"The Helicopter Sequence was also heavily prevised as I had always intended to shoot the more dangerous stunts over an airfield a hundred miles south of the Zócalo square in Mexico City, and replace the airfield with our CG Zócalo square, which we did. The previs helped Sam understand this technique in a much clearer way. Postvis supervised by Matt Tinsley was used extensively during the shoot to fill in greenscreen holes and to clarify our VFX intentions for later on.”
In-house Compositor - Paddington
STUDIOCANAL UK
August 2014 - December 2014
Framestore, London
Postviz - In-house Designer / Compositor - In The Heart of The Sea
Warner Bros. Pictures
October 2013 - December 2013
Warner Bros. Studios, Leavesdon
In-house postviz on Ron Howards new Warners feature. For Jody Johnson, overall vfx supervisor.
