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shapes the work we make.

Best known for bringing the Oscar-winning Rachael digi double to life for Blade Runner 2049, Richard has been a key figure of the VFX teams behind some of the most technically accomplished and visually arresting films of the last decade.

As Executive Creative Director and VFX Supervisor at Outpost VFX, Richard provides the global team with senior creative oversight when he isn't working as a VFX Supervisor either in-house or production-side. Equally at home on set working closely with the Director, DOP and wider creative team as he is in the studio at the helm of a substantial in-house artist team, Richard has a proven track record for delivering industry-leading visual effects on 1,000 shot film projects.

Beyond his well-known work on Blade Runner 2049, Richard's other career highlights include the spectacular full-CG 'Young Arnie' in Terminator Genisys, the ghostly pirate crew in Pirates of the Caribbean and the vast collection of vivid fantasy environments in The Nutcracker and the Four Realms.

Over the course of a 15-year career in film and episodic productions, Roni has become a knowledgable, pragmatic and truly personable VFX Supervisor with the rare ability to achieve an instant rapport with filmmakers.

Currently production-side VFX Supervisor on the upcoming Western epic from Universal, News of the World, Roni has been working side-by-side with Director Paul Greengrass and actor / producer Tom Hanks, having supervised the shoot in New Mexico. Set for release in late 2020, the film embodies the full gamut of visual effects provision including full-CG environments, high-end water simulation, DMP, face replacements and creatures.

Roni's reputation for going above and beyond has made him a firm favourite amongst the Directors he's worked with. While at Outpost VFX, he has supervised visual effects in-house for Fast & Furious Presents: Hobbs & Shaw (Universal) and The Green Knight (A24).

A Masters graduate of the prestigious National Film and Television School in London, Roni began his film career in his native Brazil where he cut his teeth on the breakout hits Elite Squad and City of God.

An Emmy-nominated VFX Supervisor, Jeremy has excelled across the VFX spectrum over the last 15 years. Recently, he was instrumental in bringing the third season of Westworld to screens as well as Marvel's Runaways and Star Trek: Discovery. In 2021 he joined Outpost VFX to help found its Los Angeles studio.

A testament to his unique versatility as a VFX Supervisor, Jeremy has established a strong body of work as both a compositor and 3D artist during his artistic career, with key roles on marquee films including The Road, Silver Linings Playbook, The Girl on the Train and Jack Reacher.

Additionally, while at DNEG he spent time as a Lead TD in the Virtual Production department, helping to build forward-thinking workflows and evaluating Unreal Engine within the VFX pipeline.

Outside of project work, Jeremy is a well-respected lecturer in VFX and game design and helped to kickstart the careers of a host of exciting emerging US talent in computer graphics.

One of the original members of the Oscar-winning studio Dneg when it launched back in 1998, Jesper has been a fixture of the VFX scenes in the UK, Canada and Sweden for over 25 years.

Jesper is well known for being a valuable on set partner and acutely understands the pressures faced on a shoot, evidenced by his time on set in New Mexico with Peter Berg shooting the technically complex military biopic Lone Survivor. He has a deep passion for storytelling and is adept at democratising VFX and working closely with directors, showrunners and DOPs.

Further career highlights include in-house VFX supervision for season one of The Wheel of Time, Alice Through the Looking Glass, Teenage Mutant Ninja Turtles and season two of Jack Ryan. As a CG Supervisor, Jesper has overseen 3D for Green Zone, The Da Vinci Code, Doom and many more, including a stint as sequence supervisor at Image Engine on Neill Blomkamp’s acclaimed District 9.

Jesper is currently splitting his time between the studio and supervising on set for the upcoming episodic remake of The Man Who Fell to Earth, featuring the full gamut of visual effects in a high-concept sci-fi setting.

With a deep knowledge of filmmaking, ability to lead large teams and a passion for photography and composition, Cale has over a decade of visual effects and animation experience.

His recent work at Outpost VFX saw him supervise highly complex creature work for the Michael Winterbottom film Greed, delivered against a very challenging budget and timescale. Experienced as an on-set VFX Supervisor for film and episodic work like Electric Dreams, Cale's in-house supervisory credits include Black Widow (Marvel), Catherine the Great (HBO), Curfew (Sky) and Life (Skydance).

Prior to joining Outpost VFX in 2017, Cale worked at studios like including Rise where he worked on Doctor Strange for Marvel.

At Outpost, Marcin has worked as in-house VFX Supervisor on Nocturnal Animals (Focus Features), Jason Bourne (Universal) and, more recently, Paul Greengrass’s 22 July (Netflix). Marcin is well known for his pragmatism on set – he understands the needs of all departments in production and works to ensure that any VFX complements both the shoot and the final quality of the film.

His work as an on-set VFX Supervisor has seen him travel to diverse locations around the world, providing an indispensable link between our team in the studio and the crew on location.

Prior to joining us, Marcin lead compositing supervision at DNEG across the Jason Bourne films, and lent his skill to major franchises including Harry Potter and Iron Man. Other career highlights include John Carter, Rush, Snow White and the Huntsman and Scott Pilgrim Vs. The World.

A fiercely creative VFX Supervisor, David specialises in guiding projects from script right through to final delivery. His deep understanding of light and composition have made him a valuable ally on location, and a knack for taking abstract visual ideas and bringing them to life on screen has made him very popular with Directors of projects like Electric Dreams and One Strange Rock.

His unmistakeable talent led to him serving as overall VFX Supervisor on the Netflix film iBoy where he lead the VFX creative from pre-production right through to final delivery, incorporating motion graphics, FX, and design of the film's title sequence. He has since lead the BAFTA-winning Under the Shadow, The ABC Murders, Mars and Widows.

As well as a passion for working with independent filmmakers, David has also brought his talent to bear on major studio features including Life and Jason Bourne. Recently, he was on-set VFX Supervisor on an episode of the HBO historical drama, Catherine the Great and in-house VFX Supervisor on the upcoming A24 film, The Green Knight.

Based in our Montreal studio, Sheen Yap comes to Outpost off the back of an impressive VFX career to date. Straight after graduating in 2009, Sheen trained with Lucasfilm on its 3DVFX Jedi Masters Programme and soon after received her first credit as Creature FX TD for Paramount’s Oscar-winning animated feature, Rango (2011).

Sheen then spent four years at MPC in various roles and later joined Framestore to become CG Supervisor. Here she left her creative mark on vastly technical projects including The Nutcracker and the Four Realms and The Call of the Wild, each of which featured intensive character and environment work.

Having now spent 12 years contributing to some of the biggest franchise pictures and episodic productions, Sheen has developed an expert understanding of the VFX pipeline and the unique creative challenges posed by every project.

Sheen’s contribution to high-end VFX has earned her credits on highly- anticipated film projects including Wonder Woman, Guardians of the Galaxy, Spectre and The Jungle Book. Most recently, Sheen delivered Flora & Ulysses as CG Supervisor, overseeing a large team of 3D artists.

Based in our Montreal studio, Illia comes to Outpost off the back of six years at MPC where he oversaw complex sequences for high-budget studio features such as The Call of the Wild, Godzilla: King of the Monsters and Detective Pikachu.

In a visual effects career spanning over a decade, Illia has worked on all kinds of productions in Montreal and his native Europe, from AAA franchise pictures to independent European films.

Throughout 2021 Illia has supervised a significant award on Foundation for Apple TV+ – the upcoming sci-fi epic based on the novels by Isaac Asimov. Working closely with the client-side team, Illia has overseen vast CG environments, spaceships hurtling into the ground, digital doubles, complex FX simulations and much more.

Illia brings big studio experience supervising 1,000+ shot features to our team and has applied his high-capacity management of assets and people to a smaller, focused team in Montreal delivering beautiful sequences for hotly-anticipated episodic productions and working in much closer harmony with our clients.

A multiple award nominee and key member of the Emmy-winning American Horror Story team, Chris has over 12 years of experience in VFX across film and episodic. His career has taken him from FuseFX to Luma Pictures and to Dneg, where he delivered a raft of visually arresting and critically acclaimed projects as a VFX Supervisor and Compositing Supervisor. Now, at Outpost, Chris is currently supervising Cowboy Bebop for Netflix having overseen our LA studio’s work on Foundation earlier in 2021.

As Head of 2D overseeing the elite episodic team at Dneg LA, Chris left his creative mark on HBO’s striking historical drama Chernobyl, the first season of Star Trek: Picard and the visionary world of The Dark Crystal: Age of Resistance for Netflix.

Chris is an experienced team leader who has a proven track record for getting the best out of in-house 2D and 3D teams on high-profile, technically complex and creatively expansive productions. His precise nature and ability to solve the unique problems that arise from episodic work make him a valuable partner for showrunners and a potent creative force at Outpost LA.

Formerly Head of CG at MPC in Montreal, Mathieu joined Outpost in 2021 and has moved straight into VFX supervision on Outer Range, the upcoming sci-fi/western from Amazon.

As a CG Supervisor and specialist in creature FX and character development, Mathieu has creatively driven some of the most ambitious and recognisable CG-heavy films of the last decade, including Ghost in the Shell, The New Mutants, Maleficent: Mistress of Evil, X-Men: Dark Phoenix and The Nutcracker and the Four Realms.

Mathieu’s areas of expertise extend right through the character pipeline, with deep experience in creating bipedal, quadrupedal and amorphous creatures spanning the real world and science fiction. His record for delivering ambitious projects at the apex of VFX provision extends across over 40 feature films extending back to Harry Potter and the Deathly Hallows: Part 1 back in 2010.

Mathieu is available to you to discuss any and all character requirements you have, whether ‘real’ or imagined, with expertise that extends beyond this into environments and FX.

Developing a reputation as an accomplished VFX supervisor over recent years, John comes to Outpost with over 20 years of visual effects experience. His career to date has seen him cultivate a deep understanding of creative direction and technical problem solving with a particular focus on bringing challenging environment sequences to life.

Currently, John is serving as an in-house VFX Supervisor on Amazon’s The Wheel of Time, overseeing a highly technical award of high- concept fantasy environments. Prior to this, John worked on the critically acclaimed series Watchmen (HBO), where his talent for large scale VFX supervison enabled him and his team to produce stunning work that was loved by both the client and critics alike.

Most recently, John worked as senior compositor on the Oscar-winning Tenet and 2D lead on the Oscar-nominated News of the World (Universal). Paul Greengrass’ classic Western encompassed demanding creative work that had to be delivered during the Covid-19 lockdown. John’s ability to lead the 2D team meant the end result was uncompromised, creating historically correct and visually captivating Old West environments that played an important role in the story.