Category Archives: Speakers Bios

Oliver Morton-Evans

Oliver has over 15 years experience in the areas of graphic design, multimedia and marketing, having run his own design company, Sweetspot Design over this period. For seven of these years, Oliver performed regular work for the highly popular children’s entertainment group, The Wiggles. This work included the creation of their interactive web content as well as handling their e-marketing requirements.

Wishing to indulge his passion for film-making and storytelling, Oliver undertook further studies at the Design Centre in Enmore from where he received a Diploma of 3D Animation & Visual Effects with Distinction in 2011.

Most recently he founded animation studio, Big Cookie Studios and produced the CG animated music video ‘Little Darling’, which won a number of international awards, including in Los Angeles and New Jersey.

Matt Dignam

Matt Dignam is studio manager at Plastic Wax. A seventeen year industry veteran spanning across CGI, Post Production, VFX and Directing, Matt has played a pivotal role in most cinematic trailers and CG productions since his return to Plastic Wax in 2010. With a focus on production technologies and innovation, Matt is a driving force behind the continual progress and development of the studio.

mattdignam_profile

Daniel Heckenberg

R&D Lead Developer

Daniel is a software developer in the R&D department at Animal Logic
where he works on graphics tools. His recent contributions may been seen
in Sucker Punch and Legend of the Guardians: The Owls of Ga’Hoole.

Shilo McClean

Dr. Shilo McClean is the author of the books: The Digital Playing Fields: New Rulz for Film, Art and Performance (Currency House, July 2010), Digital Storytelling: the narrative power of visual effects in film (MIT Press, 2007; 2008; 2009) and So What’s This All About Then: a non-user’s guide for digital effects in film (AFTRS, 1998) and she was a consultant to Animal Logic on the production of their Art of the Legend of the Guardians book, (2012) and was UTS Data Arena Showreel’s producer, a 360° 3D stereo CG film created by Animal Logic to be released in 2015. She designs and conducts seminars, workshops, and lectures for industry and tertiary courses in filmmaking, digital visual effects, fine arts, architecture and storycraft and mentors PhD candidates through the UTS Research Mentorship program. For over a decade, she was a consultant to Screen NSW for the establishment and conduct of the annual Digital Visual Effects Scheme. She produced and directed two documentary videos on digital visual effects on their behalf and was a digital strand curator for the Sydney Film Festival, producing and directing the podcasts for the festival program. Her consulting and editorial work ranges from digital image curation for games developers, strategic advice on educational/media ICT development and digital content, and the development of strategy documents and reporting in the areas of digital media/ICT. Shilo has been an active member of the Chapter since its inauguration. Shilo was one of the Founding Board Members of the local Chapter and was the Vice Chair of Sydney ACM SIGGRAPH (Professional Chapter) for almost a decade prior to stepping up for the Chair position in 2012.

Kit Devine

Kit Devine has been involved in computer graphics since 1984. She created her first animation using code while in her last year of art school. She joined XYZap in 1986 and over the next 15 or so years worked in Sydney, London and LA as an animator and effects artist on film and tv projects. She has won a number of Australian and International awards for her commercial work. She began lecturing at the AFTRS in 2002 and has been at the ANU since 2011. She is currently undertaking a phd at COFA in collaboration with the iCinema Centre for Interactive Cinema Research. Her research area is in the field of Virtual Heritage. Her short film Womb with a View was screened at the 1992 London Film Festival. She is a founder member and Empress of the DLF, a significant though informal, network of industry professionals.

Paul Debevec

Paul Debevec is the associate director of graphics research at the University of Southern California’s Institute for Creative Technologies (USC ICT) and a research associate professor in USC’s Department of Computer Science. His Ph.D. thesis at UC Berkeley presented Façade, an image-based modeling and rendering system for creating photoreal virtual cinematography of architectural scenes from photographs. Using Façade he led the creation of a photoreal animation of the Berkeley campus for his 1997 film “The Campanile Movie” whose techniques were later used to create virtual backgrounds for the “The Matrix”; he went on to demonstrate new image-based lighting techniques in his animations “Rendering with Natural Light”, “Fiat Lux”, and “The Parthenon”. Debevec led the design of HDR Shop, the first widely used high dynamic range image editing program and co-authored the recent book “High Dynamic Range Imaging. Debevec received ACM SIGGRAPH’s Significant New Researcher Award in 2001 and recently chaired the SIGGRAPH 2007 ComputerAnimation Festival.

Paul led the design of HDR Shop, the first widely used high dynamic range image editing program and co-authored the recent book High Dynamic Range Imaging. He received ACM SIGGRAPH’s Significant New Researcher Award in 2001 and recently chaired the SIGGRAPH 2007 Computer Animation Festival. He is also involved in the inaugural SIGGRAPH Asia 2008 conference as one of the Computer Animation Festival jury members. More information on SIGGRAPH Asia 2008 can be found here: www.siggraph.org/asia2008.

http://www.debevec.org/Bio/bio-short.html (Bio)

http://www.debevec.org/

Ruth Saunders

Ruth Saunders has a BA (Hons), a Postgraduate Certificate in Education and a Graduate Diploma in Library Science. None of these qualifications have been much help in her career as a plastic pipe salesperson, travel booker or film distributor. She started working at AFTRS in the Film Library then moved into distribution and marketing, honing her skills in film festival entry form completion while learning about incompatible video formats, copyright, royalties, music licenses, accounting and how to wrap parcels that will stand up to international transportation.

Jenny Neighbour

Jenny Neighbour was born and raised in England. She studied film and fine arts at London University’s Goldsmith College. After working in arts administration at the Greater London Council, she emigrated to Australia in 1987. On arrival in Sydney she was employed as an exhibition organiser, working on Australia’s bicentennial projects, before joining the Sydney Film Festival in 1989. Jenny’s initial responsibility at the Festival was the administration of the Dendy Awards for Australian Short Films and the Festival’s selection procedures, she then moved into programming, beginning with retrospectives then festival programming generally. She was invited to join the jury of the Cork Film Festival’s international short film competition and the New Talent Award for the 2003 and 2004 IF Awards. She has also participated in seminars and forums on short film distribution and the film festival industry. Over the past eight years Jenny has attended – as a selector for the Sydney Film Festival – many international film festivals, including Berlin, IDFA (International Documentary Film Festival Amsterdam), Rotterdam, Goteborg and London.

Steve Murphy

Steve Murphy was given a book called What is Sound? in First Grade, and he is still asking that question. Soon after he won a reel-to-reel tape recorder in a competition, and used it to make his first sound recording: the theme to Green Acres, live from the family TV. His life in screen sound was just beginning.

In 1978 Steve entered the Australian Film and Television School and had the best education in sound anyone could have hoped for. After graduating, he worked on commercials, corporates, and short films, then moved on to the big time of telemovies, mini-series and feature films. He has worked on location and in post-production, enjoying the catering in the case of the former and the air-conditioning in the case of the latter. He has learned that films and celebrities come and go, while bacon and egg rolls pretty much stay the same, and one black hole of a sound studio is just like any other, no matter where it is in the world.

Thinking that others should learn the real truths behind film-sound, along the way he began teaching others how to work for more hours than is really healthy while complaining about how the sound department is, at best, taken for granted. From 1988 to 1994 he was Head of Sound at AFTRS, and is proud to say his best students didn’t listen to him and have gone on to be quite successful.

For 16 years Steve worked for Dolby Laboratories as a sound consultant, and, after his time at AFTRS, he continued to record, edit and mix sound for film and television productions of all formats and genres — a few were actually quite good.

Steve has returned to teaching, and now works for TAFE NSW, at North Sydney College. To ensure he is capable of completing a Sudoku puzzle in his retirement, he is keeping his mind in shape by undertaking doctoral studies at the University of Technology, Sydney.

Despite working in the industry for over a quarter of a century, Steve remains passionate about sound and film — so don’t get him started!