Gregory S. Butler (born August 18, 1971, Suffield, Connecticut) is an Academy Award-winning American visual effects supervisor. He graduated from Suffield High School in 1989 and afterwards entered Hampshire College. Despite his initial plans to study history, a work-study job with the audiovisual equipment in the library made him interested in film production. [1] Butler graduated in 1993 with a major in film, television and theater design. [2] Afterwards he moved to California to work for Industrial Light and Magic for 9 months, where after intern work he managed to become an assistant in the effects department, starting with assistant credits in The Mask and Forrest Gump . Following a job at Rocket Science Games until the company's bankruptcy in 1996, Butler went to Tippett Studio and did effects work in Starship Troopers and My Favorite Martian , rising up to a technical director job, and Cinesite for Practical Magic . While reluctant at the requirement of moving to New Zealand, Butler was convinced by his writer-actor brother to jump at the opportunity of working for Weta Digital in The Lord of the Rings . [3] Among his achievements was working on the creation of Gollum. [4] for which he was awarded a Visual Effects Society Award. [5]
Butler also worked as a computer graphics supervisor on I, Robot before an invitation to work as an effects supervisor for the Moving Picture Company, in London. [6] He later moved to MPC's, Vancouver office. [7] On January 24, 2012, he won a BAFTA [5] and was nominated for an Oscar for Harry Potter and the Deathly Hallows – Part 2 .
He became a member of the Academy Of Motion Picture Arts and Sciences in 2012. [8]
In 2020, he received his second BAFTA win [5] and Academy Award nomination, and first win, for Best Visual Effects, for the 2019 film, 1917 , at the 92nd Academy Awards. [9]
After leaving MPC, he spent time working for Method Studios, where he worked as a VFX supervisor on feature, episodic, and advertising projects, including The Lord of the Rings: The Rings of Power for Amazon. [10] [11]
In June 2022 he began working for VFX and animation studio DNEG. [5]
Wētā FX, formerly known as Weta Digital, is a New Zealand–based digital visual effects and animation company based in Miramar, Wellington. It was founded by Peter Jackson, Richard Taylor, and Jamie Selkirk in 1993 to produce the digital special effects for Heavenly Creatures. The company went on to produce some of the highest-grossing films ever made, such as the Lord of the Rings trilogy and the Avatar series. Considered one of the most influential film companies of the 21st century, Wētā FX has won several Academy Awards and BAFTAs. The company is named after the New Zealand wētā, one of the world's largest insects, which was historically featured in the company logo.
Richard Baneham is an Irish animator and visual effects supervisor, who has worked on several film series, including The Lord of the Rings film trilogy, the Chronicles of Narnia films and the Avatar franchise. Amongst other awards, Baneham has received a BAFTA Award for Best Special Visual Effects and an Academy Award for Best Visual Effects in 2009, both for his work on Avatar, and a further Academy Award in 2023, for visual effects on Avatar: The Way of Water.
Rhythm & Hues Studios was an American visual effects and animation company that received the Academy Award for Best Visual Effects in 1995 for Babe, in 2007 for The Golden Compass, and in 2012 for Life of Pi. It also received four Scientific and Technical Academy Awards.
Technicolor Creative Studios UK Limited, doing business as The Mill, is a British VFX production company and creative studio headquartered in London, England, with three offices in the United States, three others in Europe and three in Asia. It is owned by Technicolor Group. The Mill produces real-time visual effects, animation, moving images, design, experiential, and digital projects for the advertising, games, and music industries.
DNEG is a British-Indian visual effects, computer animation and 3-D conversion studio that was founded in 1998 in London, and rebranded as DNEG in 2014 after a merger with Indian VFX company Prime Focus; it was named after the letters "D" and "Neg" from their former name.
Scanline VFX is a global visual effects and animation company founded 1989 in Munich. The studio was led by VFX Supervisor Stephan Trojansky. The company has 7 locations including Munich, Stuttgart, Los Angeles, Vancouver, Montreal, London, and Seoul.
Bill Westenhofer is an American visual effects supervisor. He worked for Rhythm and Hues Studios until its closure in 2013.
Escape Studios is a British visual effects academy situated and headquartered in North Greenwich, London, offering short courses and degrees at undergraduate and postgraduate level. Escape Studios' primary offering includes study programmes in Visual Effects (VFX), Game Art and Animation, with short courses available in Motion Graphics. Since the foundation of Escape Studios in 2002, more than 4,000 students have passed through its doors, moving into jobs in the animation and visual effects industries.
Dean Wright is a film director and visual effects supervisor, best known for his work on The Lord of the Rings film trilogy and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe.
Craig Barron is an American visual effects artist and creative director at Magnopus, a media company that produces visual development and virtual production services for motion pictures, television, museums and multimedia platforms.
Paul J. Franklin is an English visual effects supervisor who has worked with visual effects since the 1990s. Franklin won the Academy Award for Best Visual Effects and the BAFTA Award for Best Special Visual Effects for Inception (2010), and won a second Academy Award for Best Visual Effects for Interstellar (2014). He shared the wins with Andrew Lockley, Peter Bebb, and Chris Corbould. Franklin has also been nominated for an Academy Award for The Dark Knight (2008). He was nominated for BAFTA Awards for Batman Begins, The Dark Knight (2008), and The Dark Knight Rises (2012).
Tim Webber is a Welsh visual effects supervisor and is chief creative officer at visual effects studio Framestore. He is known for his work on Harry Potter and the Goblet of Fire (2005), The Dark Knight (2008), Children of Men (2006), and Gravity (2013), for which he received an Academy Award for Best Visual Effects at the 86th Academy Awards.
Namit Malhotra is an Indian film and television producer and a business executive. He is the founder and non-executive director of Indian visual and special effects company Prime Focus Limited, the world's largest independent integrated media services company, and the chief executive officer of its British-Indian subsidiary DNEG which specializes in visual effects, animation and stereo conversion.
Stéphane Ceretti is a French visual effects supervisor.
Ian Hunter is a visual effects artist. He won two Academy Awards for Best Visual Effects for the 2014 film, Interstellar, at the 87th Academy Awards in 2015 and for the 2018 film, First Man, at the 91st Academy Awards in 2019.
Laraib Khan is a Pakistani VFX artist. She has worked for Hollywood films, including 10,000 BC, The Chronicles of Narnia, Prince of Persia, Godzilla and X-Men: Days of Future Past.
Sara Bennett is a British visual effects artist who won a 2016 Academy Award for the best visual effects in the film Ex-Machina. She is a co-founder of Milk, a visual effects studio headquartered in London.
The Moving Picture Company (MPC) is a British multinational company providing visual effects, CG, animation, motion design and other services for the film, TV, brand experience and advertising industries.
Milk VFX is a British independent visual effects studio. It was founded in London in 2013 and is known for creating complex and innovative sequences for high-end television and feature films.
On-set virtual production (OSVP) is an entertainment technology for television and film production in which LED panels are used as a backdrop for a set, on which video or computer-generated imagery can be displayed in real-time. The use of OSVP became widespread after its use in the first season of The Mandalorian (2019), which used Unreal Engine, developed by Epic Games.