Company: Industrial Light and Magic (Vancouver)
Title/Role: Technical Trainer
Employment: January 2017 – Present
Details: His role involves teaches tools for multiple artist disciplines including proprietary software applications. Delivers training to ILM studios via live classes, remote training, and recorded videos. Develops and implements curricula in accordance with the facility needs in Vancouver, San Francisco, London and Singapore, including instruction on the ILM production pipeline and production procedures. Customizes new hire training to the needs and goals of each trainee’s assigned production. Evaluates and reports on trainees’ progress to Director of Talent Management, and appropriate department managers and production supervisors. Interfaces with ILM artists, software engineers, and production supervisors to determine artists’ training needs and develop course content. Creates and evaluates technical documentation for a global ILM audience. Trains on various vendor and proprietary software packages and monitors industry technical advances to stay current with the needs of production and the goals of the organization.
Company: MPC (Vancouver)
Title/Role: Lead Lighting Instructor
Employment: January 2015 – January 2017
Details: Wrote and taught the MPC Lighting Academy curriculum which is used to teach new Junior artists coming into the company to prepare them for working in the Lighting Department.
Training projects have including shots from: ‘Night at the Museum: Secret of the Tomb‘, ‘Fantastic Four‘, ‘Godzilla‘, ‘Maleficent‘ and ‘American Sniper‘.
Matt has worked closely with the Lighting Head of Department to provide up-to-date training material for the whole Lighting Department. This covers Junior, Mid and Senior training.
He has provided training for various shows, including: ‘Independence Day: Resurgence‘, ‘The Finest Hours‘, ‘Batman vs. Superman: Dawn of Justice‘.
Matt also worked alongside other departments including Animation, Compositing and TechAnim to help with their training needs.
Training covers a variety of subjects and software including: Lighting, LookDev, Colour Pipeline, HDRI, Compositing (for Lighters), and software such as Katana, RenderMan, Nuke, Maya, and various proprietary tools.
More recently, as Technical MPC University Lead Matt has headed up the technical side of MPC’s in-house training project. This project involves developing training for all artists, across all departments, in all studios worldwide.
Company: The Foundry and fxphd.com
Title/Role: Head of Nuke Accreditation Training aka ‘Nuke for Trainers’
Employment: October 2010 – Present
Details: Work directly for fxphd alongside The Foundry to writing their official international Nuke Accreditation training program. Delivering over 41 hours of recorded training., wrote 4 on-line based exams and ran 70 practical exams for compositors in the program.
Employment: May 2007 – Present
Details: Recorded over 284 training classes covering a mix of software and techniques including :
MYA228 – Maya: Paint Effects and Artisan – (2018)
MYA227 – Transitioning from Mental Ray to Arnold – (2017)
KAT202 – Katana Production Primer – (Term 39: 2016)
MYA224 – Maya Fundamentals: Simulation and Effects – (Term 38: 2015)
MYA222 – Maya Foundations: Look Dev and Lighting – (Term 37: 2015)
MYA221 – Maya Foundations: Animation – (Term 34 2014)
MYA220 – Maya Foundations: Modeling – (Term 32: 2014)
ARN201 – Real World Lighting and Rendering with Arnold – (Term 31: 2014)
VFX102 – The History of Visual Effects – (Term 29: 2013)
KAT201 – Intermediate Katana – (Term 28: 2013)
NUK221 – NUKE 7 and modo Workflow (with Ben Greasley) – (Term 27: 2013)
KAT101 – Introduction to Katana – (Term 27: 2013)
NUK219 – Working with Advanced VFX Tools (with Tahl Niran) – (Term 26: 2012)
MYA104 – Introduction to Maya 2012 II – (Term 23: 2011)
MYA213 – Maya Rendering and Lighting – (Term 19: 2011)
MYA103 – Introduction to Maya 2012 – (Term 16: 2010)
MYA212 – Integrating Maya and Nuke – (Term 16: 2010)
MYA102 – An Introduction to Maya 2011 – (Term 16: 2010)
MYA301 – Maya in Production: Moving Day – (Term 14: 2009)
FUS202 – Intermediate Fusion 6 – (Term 13: 2009)
MAY206 – Maya Animation & Compositing: Red Dwarf – (Term 12: 2009)
FUS201 – Intermediate Fusion – (Term 10: 2008)
TOX201 – Toxik and Maya Integration (with Sébastien Jacob) – (Term 9: 2008)
MAY101 – Introduction to Maya – (Term 8: 2008)
FUS101 – Introduction to Fusion – (Term 7: 2007)
MYA203 – Intermediate Maya III – (Term 5: 2007)
MYA203 – Intermediate Maya II – (Term 4: 2007)
NUK904 – NUKE for Trainers Level Four
NUK903 – NUKE for Trainers Level Three
NUK902 – NUKE for Trainers Level Two
NUK901 – NUKE for Trainers Level One
Company: University of South Wales, Cardiff, United Kingdom
Title/Role: Part Time Tutor – MA Visual Effects
Employment: September 2013 – October 2014
Details: Employed to write their MA Visual Effects course from scratch. Taught the syllabus part-time.
3D Artist on short film ‘Moving Day‘ (Director – Jason Wingrove) – September 2009- Feb 2010
Head of 3D and Assistant VFX On-Set Supervisor on TV show ‘Red Dwarf: Back to Earth‘ (Director – Doug Naylor) – February – March 2009
3D Artist on short film ‘I Love Sarah Jane‘ (Director – Spencer Susser) – July 2007
Company: Sphere VFX, Newport, United Kingdom
Title/Role: Director / Head of Training
Employment: October 2006 – April 2015
Details: Set up and ran an international training company for the VFX industry.
Clients include artists from Industrial Light and Magic, Framestore, DreamWorks Animation, MPC, Digital Domain, Cinesite, Animal Logic, Ghost VFX, Hybride, Luma Pictures, Pixomondo, Prime Focus, Sony Pictures Imageworks, and Weta Digital.
Also taught staff from all major UK Universities offering 3D / VFX courses, including Bournemouth University, NFTS, Ravensbourne and Teesside University.
Techniques taught included: 3D (Modelling, Rigging, Animation, LookDev, FX, Rendering, etc.), Compositing (Colour, Roto, Keying, Tracking, Matchmoving, 3D, Stereo, Rig Removal, Integration, etc.)
Software taught included: Maya (and Mental Ray )8.0 – 2016, Side Effects Houdini 10 – 11, Pixologic ZBrush 4.0, Autodesk Mudbox 1.0 – 2013, The Foundry Katana 1.1 – 2.5, The Foundry Mari 1.0 – 2.6, RenderMan 13 – 19, Solid Angle Arnold (for Maya) 16.0 pre-public – 1.3, The Foundry Nuke 4.7 – 10, Fusion 5.1 – 6.4, After Effects 7.0 – CC 2015.
During this time Matt trained company departments specifically for movies they were working on. These included ‘Game of Thrones‘, ‘Lockout‘, and ‘The Croods‘.
Company: Atticus Digital, Cardiff, United Kingdom
Title/Role: Head of 3D / VFX
Employment: February 2003 – September 2006
Details: Set up and ran their 3D and VFX department. Oversaw a small team of artists working on projects for broadcast and large corporate companies. Acted as VFX Supervisor on a number of small projects. Software used included Maya (and Mental Ray) 4.5 – 8.0, Pixar RenderMan (for Maya) 11.5 – 13, 2D3 Boujou 2.0 – 4.0, After Effects 5.5 -.7.0, Eyeon Fusion 4.0 – 5.1 and D2 Software Nuke 4.5.
Company: Useful Companies, Pinewood Studios, United Kingdom
Title/Role: 3D Artist and Compositor
Employment: February 2001 – April 2001
Details: Modelled and animated the main title sequence to ‘Lara Croft’s Tomb Raider‘ and did some compositing for the opening first act. Plus modelled and animated a TV Commercial for Pepsi. Software used was Maya 3.0 and After Effects 5.0.
Company: Digital Dreams and Visions, Preston, United Kingdom
Employment: April 2000 – February 2003
Details: Provided a wide range of 3D, Compositing and VFX services for various corporate and commercial clients. Software used include Alias/Wavefront Maya 2.5 – 4.5, Elastic Reality 4.0, After Effects 4.1 – 5.5, Commotion 4.0 running on Silicon Graphics 540 (Windows NT).
Company: First Creative, Preston, United Kingdom
Title/Role: 3D Animator and Compositor
Employment: August 1998 – April 2000
Details: Worked as a 3D Animator and Compositor using Alias/Wavefront Maya 1.0 – 2.5, 3D Studio Max 2.5 -3.0, Adobe After Effects 3.1 – 4.0,Puffin Design Commotion 2.0, and Avid Elastic Reality 3.0. Mainly producing work of large corporate and broadcast clients, including acting as CG Supervisor for a number of projects for clients such as British Airways.
Company: The Magic Camera Company, Shepperton Studios, United Kingdom
Title/Role: 3D Modeller
Employment: July 1998
Details: 3D modelling of for ‘Lost in Space’ using 3D Studio (Dos) 4.0.
Mentored by Rob Coleman, Industrial Light and Magic – 1997
Company: CT Soho, London, United Kingdom
Title/Role: 3D Animator
Employment: June 1997 – July 1998
Details: Primarily working as a 3D Animator on Avid Softimage | 3D 3.7 running on Silicon Graphics IRIX 6.2. Mainly producing work of large corporate and broadcast clients.
Mentored by Steve ‘Spaz’ Williams, Industrial Light and Magic – 1995
Company: The Graphics Mechanics, Abingdon, United Kingdom
Title/Role: 2D / 3D Animator
Employment: March 1993 – May 1997
Details: Head hunted from my previous employer, I worked primarily with Autodesk Animator Pro (Studio), 3D Studio (Dos) 3.0 and 4.0, and 3D Studio Max 1.0 – 2.0. Software ran on DOS 6.0 and Windows 1.0. Most of our clients were large Corporate customers and some TV work.
Company: Two Plus Two Television, Taplow, United Kingdom
Title / Role: Graphics Designer / 3D Animator
Employment: December 1990 – March 1993
Details: Started as a graphic designer working on Beacon II software. Presentations where output to 35mm film and processed off site. After ‘Terminator II: Judgement Day’ (ILM) came out I convinced the owners to buy Autodesk 3D Studio 2.0, running on DOS 5, and taught myself 3D. We went on to successfully sell 3D to both TV and Corporate clients.
Company: Croft Television and Graphics, Slough, United Kingdom
Title/Role: Graphic Designer
Employment: January 1990 – October 1990
Details: Worked mainly with Freehand 2.0, running on DOS 4, producing presentation graphics for Corporate clients.
Company: The Eastern Press, Reading, United Kingdom
Employment: January 1989 – September 1989
Details: First job out of school. Basic typesetting for a printing company.