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P aula A n hesini Paula is an exciting Editor waiting to break through the glass ceiling. Earning her stripes and building a brilliant name for herself on high-end blockbusters she is ready to step up. With astute intuition and a natural ability to find emotional resonance and cohesion narrative. Exquisitely skilled, patient, committed, collaborative and an all-round incredible human being. View CV Check Availability IMDB

E lena P a gliei Highly motivated, hardworking, collaborative, coupled with great instinct; Elena is a tour de force. Starting her career in-house Elena worked with some of the best talents in the industry honing and advancing their skills. Jumping production-side on the award-winning Netflix series The Crown, Elena worked across the last 3 series as the VFX Production Manager. Bilingual in English and her native Italian, we truly believe Elena is one to watch. View CV Check Availability IMDB

S tephen W a lsh Stephen is a unique and hugely talented Post Production Coordinator. Starting his career as Post Production Runner at Evolutions Television he very quickly got an appreciation of the overall scale and complexity of post. He joined Soho Digital Cinema as a Digital Film Technician, which led him to become a Dailies Operator for Pinewood Studios. Stephen then redirected and became an Assistant Editor which in turn transitioned to the role of in-house VFX Editor working on several epic films. With his varied experience and fantastic interpersonal skills Stephen was well placed to become a brilliant Post Production Coordinator. Combining his skills and experience Stephen is emerging as a rising star. View CV Check Availability IMDB

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Meet the VFX Producer - Roma Van Den Bergh VFX Producer, Roma Van Den Bergh , tells us her journey from a runner at the Jim Henson Creature Shop to her most recent contribution as VFX Producer on the second season of ‘Foundation’. How did you get into VFX? After film school my first job was a runner at Jim Henson’s Creature Shop. It was an amazingly creative place to work and it sparked my love of exploring ways to make the unimaginable come to life. I worked my way up to Head of Production but then took the leap into digital effects and never looked back. ​ What gets you out of the bed in the morning? Working out how we can get that little piece of magic onto the screen within the timeframe and budgetary constraints without sacrificing any quality. Conversely, the same inspiration is also what keeps me up at night! ​ What’s your favourite part of the job? I love my job! We are lucky in VFX that we are on a show from pre-production, shoot, post through to the grade. We take the journey with the Director and it's awe inspiring to see their vision develop and come to life. ​ Looking back at all the films/projects you’ve made, what lessons have you learned? I’ve learned that no matter how hard the situation, there is always a solution. You just have to open your eyes to what’s possible rather than only be concerned about what’s probable. ​ Most valuable skill? Keeping calm, humour and remembering the united goal is to make the film the best that it can be. ​ Favourite memory of working on Foundation 2? For the shoot: Working with our fantastic team on the wonderful locations and the sets. For the post: David Goyer’s joy of seeing a creature or FX for the first time and knowing it was exactly how he’d envisioned it. Do you think the VFX industry has evolved during the pandemic or in recent years? How? VFX by its nature lends itself to remote working. However, I worry that with the reluctance to go back into the workplace both in the facilities and on the production side we are losing the valuable interaction where people can work out challenges beyond the pressure of a meeting or zoom room. This is particularly true for junior artists. Cross pollination over a coffee or a pint at the pub after work allows for cohesion in a team which in turn promotes creativity. ​ What is your view of the UK VFX industry currently, and do you think there are any changes on the horizon for the sector? VFX by its nature is at the forefront of change. UK companies are actively developing their pipelines to explore the cutting-edge combination of LED Volume, Motion Capture, and Unreal Engine rendering. AI and what it can achieve is at a defining moment for Actors and Writers. For VFX, AI is part of our toolkit. We have to embrace it and the enormous changes that it will inevitably bring to our sector both in filming and post. ​ You have been part of the VFX and Post Talent Agency since its birth? Why did you join initially and why are you still part of it after almost three years? VPTA is all about Harriet Donington. Unlike most Agents Harriet has had years of first-hand experience working directly in the field both vendor and client side. She is acutely aware of the stresses of production and the personalities involved in each project. Consequently, when she puts someone forward for a position, she has absolute certainty that her client is the right fit both for the project and the studio. As a result, the studios trust her judgement which in turn provides her clients the confidence to hit the ground running. Harriet absolutely optimises the phrase ‘nurturing talent’. She is also an incredibly nice and generous person with her time and energy which makes each one of her clients feel special. See Roma's full credits list

R oma V a n Den Be r gh Roma is a dynamic, experienced, smart, creative VFX Producer and a well-respected member of the VFX community. Her can-do, positive attitude is a steadfast driving force, which has delivered numerous films and TV series. Roma has a vast technical knowledge and is well versed in VFX rebates and finances, seeing it first hand from both the facility and production side. Prior to becoming a VFX Producer Roma was Head of Production and Executive Producer at Pixomondo, The Mill and Rainmaker. Back in the day this incredible trailblazer was also Head of Production at the Jim Henson Creature Shop. View CV Check Availability IMDB

T aylor T u lip-Cl o se After spending 15+ years working as a Lead Data Wrangler and On-Set Supervisor it was a natural trajectory for Taylor to step into the role as VFX Supervisor. Starting his career as a Stills Photographer on the Harry Potter franchise, he quickly transitioned into the role of Data Wrangler. Taylor has worked with some of the best VFX crews on an array of blockbusters and HETV series gaining invaluable skills and experience. Having more than earned his stripes Taylor stepped up to the role of Overall VFX Supervisor on the Mike Myers series, The Pentaverate for Netflix. Taylor is an energetic, pragmatic, and hardworking talent with a great eye for detail and phenomenal production experience. Taylor has dual UK and Canadian citizenship and is happy to travel. View CV Check Availability IMDB

< Back Becky Roberts VFX Producer Becky is an industrious and meticulous VFX Producer who prior to going production side worked at a number of UK VFX facilities. She is well versed with in-house workings and politics having delivered multiple TV series and films. Becky jumped production side as VFX Production Manger on Dora & the Lost City of Gold and got her break as VFX Producer on the TV series The Irregulars. She is a wonderful, evolving talent, with an eye for detail, steadfast determination and takes great pride in her work. View CV IMDB

< Back David Stephens VFX Producer It is an unusual transition from VFX Editor to VFX Producer but in David’s case it was a perfect synergy. Working as a VFX Editor David gained invaluable experienced in previz, postviz, shot design, database management, VFX pipeline and turnovers. His acute attention to details, technical knowledge and resourcefulness has benefited him hugely in the role of VFX Producer. Impressing the Producers so much on the BBC series World on Fire they asked him to step into the role of VFX Producer from VFX Editor. David then went on to be the Associate VFX Producer on A Boy Called Christmas (Blueprint / Netflix) and has not looked back. View CV IMDB

< Back Jimmy Knowles Jr VFX Producer / VFX Production Supervisor With a Bachelor of Law, and a Bachelor of Arts Degree under his belt Jimmy’s academic training is a perfect foundation to becoming a brilliant VFX Producer. Starting his VFX career as a PA at Weta Digital his fast learning and can-do attitude enabled him to hone his skills and learn from the world's VFX elite. Moving to the UK in 2018 to work in-house at DNEG, within a year he was asked to join the Netflix series A Letter for the King as the VFX Coordinator thus starting his production side career. Charismatic, hard working, smart and a team player - we predict a very bright future. View CV IMDB Previous Next