RESUME

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A natural collaborator with extensive experience as a liaison between visual effects and production, I manage client expectations, communicate VFX recommendations, and negotiate divergent strategies, often under pressure, on fast-paced productions requiring decisive solutions and viable alternatives.

Organized, set-savvy, and client-focused, I foster strong relationships and open dialogue with diplomacy, a positive attitude, and expertise in all aspects of on set visual effects supervision. 

I carry US & Canadian passports as a dual citizen, based in Vancouver, BC.

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PROFESSIONAL EXPERIENCE

ON SET VFX SUPERVISOR

Netflix / DEAD BOY DETECTIVES / series / 2022-2023

  • Supervised numerous sequences integrating CG creatures and props, practical floor effects, and set extensions
  • Oversaw vfx plate photography, animation timing, set extensions, blue/green screen photography. Coordinated set, prop, and location scanning with 3rd party vendors

VFX SUPERVISOR

Paramount+ / THE PAINTER / feature / 2022

Paramount+ / VINDICTA / feature / 2022

  • Facilitated creative adjustments with cost-effective solutions, limiting budget increases
  • Matched vfx requirements with stakeholder’s expectations, unifying creative concepts with practical results

ON SET VFX SUPERVISOR

ABC Signature Studio / THE WATCHFUL EYE / ep 108-110 / 2022

  • Created shoot bible for the NYC plate unit, incorporating relevant camera data, measurements, and reference images, enabling efficient, one-to-one element and plate integration
  • Supervised and directed blue screen plate and element unit, NYC

VFX SUPERVISOR

Twenty68 Films / JONAH / feature / 2022

  • Supervised live-action plate photography, and acquired relevant camera data, HDRI, and reference photography
  • Provided alternative solutions to last-minute creative decisions on location, mitigating cost and schedule issues

ON SET VFX SUPERVISOR

Netflix / AVATAR: THE LAST AIRBENDER / live-action series / 2021-2022

  • On set vfx supervision on large-scale volume stage, including hybrid live-action/ cg/ engine environments
  • Created storyboards for use on-set, based on existing pre-viz and script breakdowns
  • Supervised on-set vfx team in capturing comprehensive camera data, HDRI, set and prop photogrammetry, texture references, and lidar scans
  • Coordinating daily with department leads, stage crews, volume team members, and numerous vendors
  • Booked 3rd party vendors for location, set, prop, and digital double scanning and photogrammetry

ON SET VFX SUPERVISOR, 2nd unit

Netflix / WE HAVE A GHOST / feature / 2021

  • Generated detailed vfx location breakdowns, floor plans, and site maps, based on previz, storyboards, and script breakdowns

ON SET VFX SUPERVISOR

Warner Brothers / THE FLASH, series / 2014- 2021

Warner Brothers / THE CHRONICLES OF CISCO / streaming series / 2016

  • Prepped and supervised 69 episodes over 7 seasons, with directors, producers, production design, art department, special effects, makeup, costumes, props, and stunts, from prep through production completion
  • Oversaw plate/ element photography, set extensions, CG creature/ live-action interaction, and motion control
  • Defined processes/ methodologies, vfx sequence planning, and determined animation timing and requirements

ON SET VFX SUPERVISOR

Nickelodeon / A FAIRLY ODD SUMMER / feature / 2012

  • Designed cg character animation character interactions with live-action cast and practical floor effects
  • Coordinated closely between camera, stunts, and special effects in Vancouver and Hawaii

VFX SUPERVISOR / ANIMATION DIRECTOR

BBC Worldwide / DINOSAPIEN / series / 2007

  • Supervised and directed extensive animated CG creature/ human interaction sequences
  • Exceeded client expectations, maintaining budget targets and production schedules
  • Improved communication and visual effects coordination across all departments

ANIMATION DIRECTOR / CREATIVE PRODUCER

CBC / WHAT IT’S LIKE BEING ALONE / stop-motion series / 2005-2006

  • Developed characters and animation sequence pitches with showrunner, show creator
  • Increased image quality dramatically with the introduction of a bespoke DSLR camera system and streamlined set-to-post pipeline

VFX SUPERVISOR / ANIMATION DIRECTOR

BBC / ACE LIGHTNING / series / 2004

  • Directed and supervised in-house CG animators and vfx artists, prep thru post production
  • Spearheaded improvement of plate photography methodologies for cg creature/live-action hybrid sequences

ANIMATION DIRECTOR

Fox Television / ANONYMOUS REX / mow / 2003

  • Provided script breakdowns, methodologies, animated sequence pitches and storyboards 
  • Directed stop motion animation sequences, designed and constructed sets, lighting and in-camera effects

SPECIAL EFFECTS CREATURE SUPERVISOR

HBO / SQUAWK BOX, series pilot / 1998-1999

  • Led the design, engineering, fabrication and operation of animatronic creatures
  • On Set supervision, coordination, and operation of animatronic creatures and props.

ANIMATION CONSULTANT

Mass Illusion / ALIEN: RESURRECTION / proof of concept / 1997

  • Working with creature designers and animators, we explored xenomorph movement cycles in response to changing environments, atmospheric conditions, and human/creature interaction.

ANIMATION CONSULTANT

Mass Illusion / ERASER / proof of concept – animation / 1996

  • Explored stop motion coupled with motion control as alternatives to costly live action-plates requiring extensive stunt rigging and practical aircraft.

” Marc has the rare mix of technical expertise and endless creativity. Whether breaking down storyboards or planning animation blocking on set, Marc would always find solutions to our technical snags in a collaborative, efficient way. He encourages the best work from his team members and raises the bar for craftsmanship on whatever show he’s on. “

– Steve Jaworski, Compositing Supervisor, Sony Computer Entertainment

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