Robert Nederhorst

Work History

• Freelance Comp/CG/VFX Supervisor

  Self

  May 2014 - Present
• 

  Adjunct Professor

  University of Southern California

  January 2011 - Present

  Greater Los Angeles Area

  As of Spring 2011, I am an Adjunct Professor at the School of Digital Arts. I have taught compositing class and have mentored students in the art of visual effects

• Principal/VFX Supervisor/Compositor/Artist

  Narrate, Inc.

  August 2008 - Present

  Greater Los Angeles Area

  My company is Narrate, Inc. We have done several jobs through this company such as Thor, Captain America, Book of Eli, and several commercials. We use as small or as big of a team as the project demands and have a pipeline that is flexible enough to handle film and television work.

  
• 

  Visual Effects Supervisor

  Zero VFX

  November 2015 - March 2018

  Venice, CA

  My role at ZERO entails creating the absolute best content for our clients, while maintaining a very reasonable schedule for our team, and managing costs throughout the entire process.
  Part of this is bringing in the best in breed talent for our entertainment products as well as technical oversight of our software and hardware pipeline. This, coupled with constant management of multiple projects simultaneously, results in an end-to-end managed process which allows us to push the envelope on creative and technical levels. Also, I make a pretty damned good caipirinha.

  

  

  

  

• CTO

  Narrate, Inc

  May 2015 - February 2017

  Greater Los Angeles Area

  Lead Developer / Product Manager for Surf Track (https://bit.ly/surftrack) which is an app for tracking surf sessions
• 

  VFX Consultant

  Activision

  October 2014 - August 2015

  Santa Monica, CA

  Activision asked me to look in on the production of Guitar Hero Live, which was one of it's most ambitious projects ever undertaken. There were a ton of moving parts and I identified several key issues that helped take this production to a more effective finish line. I worked with external vendors, as well as internal content and managerial teams to ensure that all information was clear and cost/benefits were well explained. We then set up an internal test to check for insourcing some of the process for the next edition of the game should it be green lit. This internal test showed we could do identical work with a significant cost reduction, while maintaining creative control and of course visual fidelity.
• 

  VFX Supervisor

  Method Studios

  July 2013 - May 2014
• 

  CG Supervisor

  Method Studios

  April 2013 - July 2013

  I was brought in to Method to oversee the 3D portion of a commercial for Infiniti. The team and I took a very time-compressed schedule (12 weeks), and delivered it in 9 week early with massive budgetary savings while creating a giant quality boost for our client. We did all this with zero overtime for any artists. Oh also, I made Jello shots on Fridays.
• 

  VFX Supervisor

  Svengali FX

  January 2010 - March 2013

  Culver City, CA

  Supervised work on Priest, The Last Airbender, and Iron Man 2. I supervised a team of 15 people plus remote people and facilities. I (along with the owner Jamie Venable) hired the entire team and setup the facility for an effective workflow. I designed and coded nearly the entire pipeline for rendering and compositing. The entire show was managed through Shotgun with python glue written by yours truly utilizing time saving things like automated Quicktime creation so that coordinators did not have to do these things.
  Priest was 88 shots, Airbender was 6 shots, and Iron Man 2 was 5 shots.
  Airbender and Priest overlapped and I did some compositing on Priest during this time.
  We worked with a stereo vendor on Priest and were able to render out full stereo shots of our 100% digital city shots for the final production.

  

  

  
• 

  Stereographer / VFX Supervisor

  Speedshape

  March 2011 - July 2011

  Venice, CA

  Oversaw entire stereo conversion of Spy Kids 4 (all 1908 shots). Direct interaction with director/client. Designed the back end pipeline (did not code it) for a complete way to manage and deal with the show. Teams located in multiple offices were managed and supervised by myself and a producer.
• 

  Speedshape

  March 2011 - July 2011

  Oversaw entire stereo conversion of Spy Kids 4 (all 1908 shots). Direct interaction with director/client. Designed the back end pipeline (did not code it) for a complete way to manage and deal with the show. Teams located in multiple offices were managed and supervised by myself and a producer.
• 

  VFX Supervisor

  Reel FX

  December 2008 - February 2010
• 

  VFX Supervisor

  Speedshape

  April 2006 - December 2008

  My mission at Speedshape (LA) was to build the facility technically as well as creatively. I was the first person hired in Los Angeles and was in charge of hiring the team and building our infrastructure including full render farm implementation and a DI bay. People were hired and a pipeline was coded while we were working on production jobs.
  Successfully did DI sessions on multiple commercials and some short feature film work.
• 

  VFX Supervisor

  Sway Studios

  June 2005 - April 2006

  At Sway I redesigned the entire 3D and 2D pipeline utilizing new software and methods. I reworked the entire renderfarm and did a significant amount of IT work to keep everything as maintenance free as possible. I also supervised commercials, one of which was nominated for a VES award for best compositing.
• 

  Visual Effects Artist

  Digital Domain

  January 1998 - May 2005

  Reponsible for visual effects shots in many feature films and commercials