Magali Rigaudias : Animation Supervisor at Animal Logic About Magali has worked in the animation industry for nearly 30 years. After spending some time working in Paris early on in her career, she went to Industrial Light & Magic in California and worked as an animator on VFX films such as Dragonheart, Mars Attack, The Lost World: Jurassic Park, Star Wars Episode I & II, The Mummy Returns, Harry Potter and the Chamber of Secrets, E.T. The Extra-Terrestrial, Pirates of the Caribbean: The Curse of the Black Pearl, Van Helsing. After almost a decade at the studio in San Francisco, she decided to broaden her experience to work on animated films and in 2004, she joined the Sydney team at Animal Logic as a lead animator to work on George Miller's Happy Feet. The film went on to win the Academy Award in 2007 for best Animated Feature Film. Other credits include Guardians of Ga'Hoole, Maya the Bee Movie, Monsters Hunt, LEGO Batman, Peter Rabbit and The LEGO Movie 2. Magali recently joined Animal Logic again as an animation supervisor after anim directing on Maya the Bee - The Golden Orb at Flying Bark and Chickenhare and the Hamster of Darkness for the Belgian studio nWave Digital.

Jason Galeon is an HPA nominated CG Supervisor at Wētā FX with more than 20 years of experience working on a huge range of major films. Jason began his career at Blue Sky Studios and went on to work at some of the biggest VFX studios, including Framestore London and MPC, working on films like The Dark Knight, Ice Age, and The Matrix sequels. He joined Wētā in 2009 on the first of James Cameron’s Avatar series as a lighting artist and held key roles in many Wētā projects including The Avengers, Peter Jackson’s The Hobbit trilogy, and Guardians of the Galaxy Vol. 2. His more recent projects include The Suicide Squad, Avatar: The Way of Water, and Shazam! Fury of the Gods. He’s been a CG Supervisor for years, and more recently has become a VFX Supervisor. Ep 1 : - How to improve your folio and showreel for VFX Artist’s - Failures in your career and lessons you’ve learnt - What inspired your journey - Working in Film/VFX and specialising in CG Supervising - Working at BlueSky Studios - Working at WetaFX - Working on sequels compared to original films - Being a good Supervisor and Leader - VFX Pipeline - Working in creature development

Jason Galeon is an HPA nominated CG Supervisor at Wētā FX with more than 20 years of experience working on a huge range of major films. Jason began his career at Blue Sky Studios and went on to work at some of the biggest VFX studios, including Framestore London and MPC, working on films like The Dark Knight, Ice Age, and The Matrix sequels. He joined Wētā in 2009 on the first of James Cameron’s Avatar series as a lighting artist and held key roles in many Wētā projects including The Avengers, Peter Jackson’s The Hobbit trilogy, and Guardians of the Galaxy Vol. 2. His more recent projects include The Suicide Squad, Avatar: The Way of Water, and Shazam! Fury of the Gods. He’s been a CG Supervisor for years, and more recently has become a VFX Supervisor. Ep 2 : - How to improve your folio and showreel for VFX Artist’s - Advice for aspiring managers and supervisors - Working at a big studio versus a small studio - When to switch studios - Working at Framestore - How to improve and grow as a VFX Artist - Building relationships with supervisors and directors - Working with Christopher Nolan and James Cameron - Project Discussions: Terminator 3, The Dark Knight - Work/Life Balance

Topics Discussed - Advice to mid level to junior producers, VFX artist & Motion designers - Working in advertising versus longform TV or film - Failures in your career - Lessons you have learnt - Working in motion desgin at Engine - Managing multiple projects efficiently - Producing for Motion design - Producing vfx for film, tv & advertising - Quoting, Team management & Negotiation - Fin Design + vfx - Moving in to Longform VFX - Project Discussion - I Am Mother & - Project Discussion - Shang-Chi & the Legend of the Ten Rings - Reflection & the future Alastair Stephen : Head of Visual Effects at Fin Design + Effects Alastair has been working within the Australian visual effects industry for the last 25 years. Alastair started his career in the advertising sector working within leading international agencies such as DDB, McCann-Erickson, George Patterson Bates and Attik as well as Australia’s foremost visual effects studios, Fuel VFX, Iloura,The Lab and Engine. He has collaborated with directors, supervisors, producers and artists on a myriad of awarding-winning projects throughout his career. Alastair joined Fin Design + Effects in 2013 as Executive Producer and after six years developing Fin’s strategic business plan, expanding its operations and attracting significant international film and television work into the studio, he waspromoted to Head of Visual Effects in 2019. Alastair has been instrumental in securing and managing international productions for Fin comprising: Marvel’s Thor: Ragnarok, & Shang Chi and the Legend of the Ten Rings, Twentieth Century Fox’s Logan, Fox Entertainment’s Cosmos Possible Worlds, Sony Television’s Preacher Season 4, Netflix’s I Am Mother, and Legendary’s Lost in Space 3 Alastair’s skill set includes management of large teams of creative and technical personnel, effective client management, clear communication and strategic business growth within a SME. He has a deep respect for, and extensive understanding of, creativity, technology and innovation within the visual effectsindustry. Alastair’s professional philosophy has been to share knowledge and support the development and growth of a globally competitive visual effects industry in Australia. Alastair is an active member of the Visual Effects Society and is currently Co Chair of the Australian Section www.findesign.com.au

Scott Geersen : Substance Scott is the founder and director of Substance, a strategic moving image studio known for refining complex ideas into essential truths, for brands that want to help re-make the world. With a background as an awarded motion designer, compositor, 3D artist, VFX supervisor, and director, Scott leads Substance to create powerful narratives, characterised by collaboration and invention. From title sequences that enthral and commercials that captivate, to motion systems that help define brands, the stories that move us start with substance www.sbstnc.co Topics Discussed - Advice to mid level - Motion designers, Compositers & directors - Running your own studio - Substance - Early career : Post Prodution & VFX - Digital Pictures, Cutting Edge & The Lab - Compositing & VFX : Flame sessions & Flame in the future ? - VFX Supervising - Being multi disciplined - Learning 3-D - International collaboration - Working on title sequences - Project review : Aco 2020 Season Launch - Project review : Tedx 2017 to 2021 - Inspiration & podcasts - Lessons you have learnt - Reflection & the future

Jon Gorman : Creative Director at Buck New York . Originally from Melbourne Australia, Jon has worked first at Buck LA and then at Buck New York for over 15 years and is now a creative director. . https://buck.co/ . Don't forget to join our jobs network : Masters of Motion : www.mastersofmotion.com.au/jobs Topics Discussed - Advice to mid level - Motion designers, art directors & directors   - Early career Melbourne Freelancing - XYZ & 21:19 
- Buck LA - Moving to the USA - Buck NYC - Pitching - Briefing & idea development - Moodboards, storyboards, style frames & concept art - Presenting and your concepts storyboards - Art directing storyboards - Editing - Project review - explainer videos - Writing good scripts - Art directing & creative direction  - Lessons you have learnt - Reflection & the future Masters of Motion : www.mastersofmotion.com.au

Brendan Seals : Luma Pictures . Brendan has a design background and artist experience in FX, Lighting and Compositing. He has carved out a strong look development career in film animation and VFX. After moving to Melbourne from Perth in 2012, he established himself at Luma Pictures before moving up through supervisory roles to become VFX supervisor, were he’s worked on blockbuster films and TV series. Passionate about filmmaking and a sucker for sci-fi, he supervise’s with a keen eye for conceptual design and story telling and loves to collaborate. . www.luma.inc . Don't forget to join our jobs network : Masters of Motion : www.mastersofmotion.com.au Topics Discussed - Making better show & breakdown reels - Boogie Monster - working in television commercials - Creating vfx for the indie feature : Sororal - Prevention versus feasibility - Luma career development - Luma pipeline and technology - Advantages and disadvantages of bing multi disciplined generalist - Project discussion : Spider-man, Black panther & Doctor strange - Being a better supervisor - methods and ideas - Good Briefing, critiques and notes - Exciting new technologies & methods - Balance & overtime Masters of Motion : www.mastersofmotion.com.au

Topics Discussed - Advice to animators and illustrators - Failures in your career & hard things you had to learn - Transitioning in to a creative director - Experience of working on Sesame Street - Successful Women in the industry - Awards - winning a Emmy, ADG & B&T - SLR Productions & Creating Kids Tv series - SLR Pipeline and equipment - Being a first time director - Revisions & Listening as a creative director - Writing & giving a strong brief - Methods for delivering bad news - Being effective as creative director - Directing voice talent - Project discussion Gasp! & Guess how much I love you. - Reflection & the Future Jo Boag has worked in the media industry for more than 20 years.  She began her career as an Animator and moved on to designing and directing animation for television and advertising. In 2001, Jo co-created, designed and directed Gloria’s House a 26 x half hour animated series which screened globally. Jo has been the creative director at SLR Productions for 15 years and is in charge of developing and overseeing the creative direction of productions.  Jo works as the creative brand manager supervising more than 130 hours of content. Jo is an Emmy Award winning Creative Director and a ADG nominated for best animation Project. Jo was also the  2014 B&T Women in Media Creative of the Year winner.  In her executive role she works with original creators, writers, directors, actors, artists, broadcasters, distributors and publishers. Jo has overseen successful international brands such as the award winning Specials for the – Guess How Much I Love you -The Adventures of Little Nutbrown Hare, Christmas to the Moon and Back and An Enchanting Easter,  the original Lexi and Lottie- Trusty Twin Detectives, the adapted UK picture books Captain Flinn and The Pirate Dinosaurs, the acclaimed classic preschool property, Guess How Much I Love You™, the animated adventure comedy series The Skinner Boys – Guardians of the Lost Secrets and the Emmy Award winning animated series I Got a Rocket™.

Raoul Marks is an Emmy-award winning, Bafta-nominated Director and 3d Motion Designer. Along with creative partner Patrick Clair at Antibody, Marks has created some of the most iconic opening title sequences of all time, including True Detective, American Gods, Lovecraft Country, Man in the High Castle, Westworld and The Crown. Raoul also works for clients in the music, fashion, sporting and gaming industries, including Adidas, Louis Vuitton, MTV Halo and Far Cry 6. Raoul is both a outstanding 3D generalist and a 2d design driven artist. www.raoulmarks.com & www.antibody.tv . Topics Discussed - Advice to Motion Designers & 3D Artists - Working overseas and career development - Failures in your career & hard things you had to learn - Transitioning from graphic design to motion design - Passion projects : Spring & Semi-Permanent 2015 - Experience of working on True Detective - Awards - winning Emmys - Working remotely & pipeline and equipment - Creative partnership with Patrick Clair - Working for Elastic studio in Los Angeles & Remotely - Working in Advertising, Game Cinematic’s & with brands - Projects discussion : 1 The Crown 2 West World 3 Man In The High Castle - Reflection & the Future

Matthew Everitt : MR X Matt has over 25 years experience in the animation industry. Beginning as a 2D animator for TV, before learning 3D Animation to work in games in the mid 90’s. Matt then moved into commercials, creating content for brands such as Nestle, KIA & Vodafone. He also worked on Madonna’s Grammy live show with animated band the Gorillaz. From commercials he moved to animated features, for which his credits include: Happy Feet 2, The LEGO Movies, Walking With Dinosaurs, Dora - The Lost City of Gold and Cats. Matt currently works as Animation Supervisor for MrX Adelaide, also acts as executive producer for the animated features The Wishmas Tree & Combat Wombat and has movie titles in development. www.mrxfx.com Topics Discussed - Advice to mid-level animators, & supervisors - Failures in your career - Hardest things you had to learn - 2D animation for TV & gaming - Passion Pictures UK - Gorillaz and Madonna - MTV & Ricky Gervais - Framestore - moving into films - How did your role change - Animal Logic - moving to Australia - Selling your ideas to others - Animating animals & creatures - Realistic animation - Onset animation supervising

Andrew has a strong visual foundation in fine art, technical knowledge and creative passion partnered with a wealth of production and post production experience. A multidisciplined artist, who works at the elite level in both motion design and commercial visual effects, as well as being a accomplished live-action director in both television commercials and short films. He has worked on Australian TV dramas, films and in some of the top VFX and Motion Design studios in Australia, London and New York. Andy is currently a TVC Director & VFX Artist at Pixel. www.pixel.melbourne - Advice to VFX artists & motion designers - Being multi disciplined in motion design & visual effects - Money, pressure on rates, negotiation and incomes - Failures in your career & hard things you had to learn - Working at The Mill in London - Head of motion design at MPC In New York - Writing for Motionographer - About pixel & studio pipeline - Winning work and pitching - The Art of Online editing - Lessons learned Directing TVCs - Directing Short films : Attic & Blackwood