Adam Watkins


Adam is a DFX / CG Supervisor with extensive experience in feature film, broadcast and commercial visual effects.

His knowledge covers all stages of the production life-cycle – everything from accurately bidding projects and on-set supervision, to designing work pipelines, building teams, or even jumping ‘back on the box’ to help artists solve difficult technical challenges.


- Project Specialties: CG supervision, on-set supervision, bidding, budgeting, scheduling

- Technical Specialties:: Design, cg disciplines (model/texture/light/render/anim), match-moving, crowd systems, production pipelines, scripting, stereoscopic, cgfx, advanced problem solving

- Software Specialties:: 3ds Max, Maya, VRay, MentalRay, Massive, Nuke, Adobe Suite, Shotgun, Deadline


Adam has UK and US citizenship, so can legally work in US or UK/Europe & Commonwealth.

Work Experience

ILM  //  November 2014 – Present

“Jurassic World”


Pixomondo  //  June 2013 – November 2014

VFX Supervisor for the 3d/4d motion simulator theme park ride “Star Journey” for the Wanda Wuhan Movie Theme Park in Wuhan, China. This ride was nominated for the 2014 VES Awards in the category “Outstanding Visual Effects in a Special Venue Project.”

- Supervised all company divisions for ride media design, creative and technical matters
- Delivered over an hour of Main-Show 4k stereo content, and an hour of 2k pre-show content
- Designed “branching storylines” feature for main show, fitting multiple rides into one
- Worked with external vendors Forrec for project scope, SimEx-Iwerks for 6-DOF ride simulator system, Yessian Music for audio design, and Kingsmen for pre-show presentation systems
- On-set supervision in China for live-action components of ‘Star Journey’ and sister show ‘Hubei in the Air’
- Designed and supervised stereo for all sequences
- Oversaw creative for pre-show, blending science-based and science-fiction motion graphic content


Pixomondo  //  March 2012 – May 2013

DFX Supervisor for “Star Trek Into Darkness” (~400 shots, created in 8 divisions worldwide)

- Provided VFX Producer with bidding and effects breakdowns for show
- Client facing role attending frequent reviews with show VFX Supervisor and Director
- Deputized in event of VFX Supervisor Ben Grossmann’s absence
- Supervised the Kronos sequence
- Supervised all CG departments at LA office, and steered creative and shot design
- Established show specs and a CG render elements to Nuke AOV pipeline
- On-set supervision for Starfleet Headquarters “Room Attack” sequence
- Implemented a matchmove pipeline revision company-wide
- Defined / consulted on stereo settings for all CG shots for the show
- Technical expertise provided to solve challenges encountered during show


Pixomondo  //  Jan 2011 – March 2012

CG Supervisor for “The Amazing Spider-Man” (~300 shots, created by 230 artists worldwide)

- Worked with VFX Producer and VFX Supervisor to supply CG and matchmove bidding for the show
- Worked with VFX Sup to oversee/manage CG departments for the show
- Revamped the stereo matchmove pipeline, calibrated matching clients stereo rig / footage
- Managed facility/vendor matchmove outsourcing, and QC for all matchmove data returned
- Technical expertise provided to solve technical challenges encountered during show


CG Supervisor for Martin Scorsese’s “Hugo” (800+ shots created at 9 divisions worldwide)
This feature won the academy award for visual effects.

- Worked with VFX Producer to supply CG bidding for the show
- Oversaw work of facility departments for the show (light/ anim/ render/ shading/ cgfx/ mm/ comp)
- Helped formulate stereo matchmove pipeline
- Managed facility/vendor matchmove outsourcing, and QC for all matchmove data returned
- Designed and scripted Crowd Tools pipeline (based on Massive) and simulation/rendering pipeline
- Performed the shot design and effects choreography many key shots in the show, including opening shot of the movie – the flydown down into and behind the walls of the Paris train station (received VES award for this work and the Satellite award for Visual Effects)
- Technical expertise helped solve many of the technical challenges encountered during Hugo
- Helped design Shotgun pipeline for the show, and rollout to divisions worldwide


Crazy Horse Effects  //  Apr 2010 – Jan 2011

CG Supervisor for feature “Water For Elephants”

- On Set Supervision and data wrangling
- Designed and implemented CG / Rendering / Matchmove pipelines
- Created all rigs and animation for CG train
- Animated, lit and rendered all CG train shots
- Created fumeFX smoke and steam systems for the CG train
- Responsible for all CG elephant bull hook replacement shots


Cafe FX  //  Oct 2009 – Feb 2010

CG Supervisor at Santa Monica office for feature “Alice in Wonderland”

- Responsible for CG / Rendering / Matchmove / Stereoscopic 3d pipelines
- Collaborated with Compositing Supervisor to implement ’1-click’ VRay-Nuke render elements pipeline
- Coded project tool sets for 3ds Max artists, including stereoscopic camera tools
- Solved IO / Stereoscopic 3d translation issues between Maya / 3dsMax / Houdini / Boujou / Nuke
- Trained staff and freelancers in tools / techniques for the show, trouble-shooting all tech issues


The Syndicate  //  Mar 2008 – Oct 2009

CG Supervisor for Martin Scorsese’s “Shutter Island” (~200 shots)

- Provided bidding and effects breakdowns to VFX Producer
- Responsible for creation of CG / Rendering / Matchmove pipelines
- Also served as Matchmove Supervisor
- On Set Supervision for “Lighthouse”, “Rat Beach” and “Ash Back” effects shoots
- Technical problem solving for entire pipeline
- Coding of pipeline and pipeline tools
- Educating staff / freelancers in tools and techniques

Staff CG Supervisor for additional features, and commercials / music videos including:
Features – The Mummy: Tomb of the Dragon Emperor, Public Enemies, 2012
Music videos – ‘House Of Cards’ for Radiohead (Grammy Nominated)
Commercials – ESPN Monday Night Football, Unilever, Orville Redenbacher, Consol Energy, Microsoft, Embarq, and American Petroleum Institute.


Digital Backlot  //  Sept 2006 – Mar 2008

CG Supervisor for all features and broadcast work at Digital Backlot

Features: There Will Be Blood, The Golden Compass, 3:10 To Yuma, Evan Almighty, The Last Mimzy, Fast and The Furious: Tokyo Drift
Broadcast: HBO mini-series John Adams and The Pacific.

For John Adams, Digital Backlot won an Emmy for visual effects, and 3 VES Awards. I was a recipient of one of the VES awards for outstanding created environments.

- Responsible for CG / Rendering / Matchmove pipelines,
- Designed and implemented environmental FX pipelines (fire, smoke, water)
- Supervised all modeling/animation activities
- Managed and supervised external contractors work


Digital Domain  //  Oct 2005 – Sept 2006

Massive Animator for the feature “Flags of Our Fathers.”

- Responsible for over 80 massive shots inc. several key invasion sequences and all stadium sequences.
- Responsible for development and trouble-shooting of tank, amphibious tank and Higgins landing boat massive agents as well as configuring hero soldier agents for shore landing and invasion abilities.
- Coordinated between lighting and water FX teams to ensure massive agents played well with all other elements!
- A number of invasion shots and agents were subesequently re-used for feature “Letters from Iwo Jima.”


Uncharted Territory  //  Aug 2005 – Oct 2005

TD and 3d animator for the TV mini-series “The Triangle.” Developed crowd scenes, custom character rigs and dynamics rigs for the show including parametric system for realistic shark animation. Show subsequently won the “Emmy For Outstanding Special Visual Effects For A Miniseries, Movie Or A Special”.


Digiscope  //  Jan 2005 – Sept 2005

3D Artist / Technical Director for the feature film “Racing Stripes.” Responsibilities included modeling, match moving, texturing, lighting. Additionally I designed and implemented a photo-real hair FX pipeline used to replace horse hair on the live talking horse characters.


Uncharted Territory  //  Aug 2003 – Aug 2004

3D Technical Lead for projects including “Day After Tomorrow” and “Kingdom in Twilight.” For “Day” responsibilities included modeling lead, tracking, match moving, development and implementation of a crowd system including all crowd assets. For “Kingdom” responsible for all crowd visual effects (using Mayhem toolset), advanced technical problem solving, and supplemental 3D effects for many other aspects of production.


Adam Watkins Design  //  Jan 2002 – June 2003

Primary occupation was in designing and developing Mayhem – a suite of crowd simulation /character animation tools for use in film visual effects (subsequently picked up by Uncharted Territory for the show Kingdom in Twilight). Additionally worked as freelance 3d graphic designer undertaking short and long term visualization contracts for corporate clients.


Invisio Inc.  //  Jan 2000 – Dec 2001

Senior Software engineer at this Silicon Valley startup company, developing internet handheld devices companion and 3D stereoscopic glasses. Won several industry awards for both ‘eCase’ and ‘eShades’ products. Created tailored 3D/2D promo materials and software builds for customers in the computer or video game industry such as Nvidia, Nintendo, Apple, Intel, Dell, as well as OEM clients including Kodak, HP, and Olympus.


Knowledge Pool  //  Sept 1996 – Dec 1999

As a senior multimedia developer I created Computer Based Training and multimedia applications for clients including London Underground, Barclays Bank, Avis Europe, UK Lottery, and Deutsch Bank. Roles included coding, graphic design (3D and 2D), quality testing and managing client contact. Additionally for some projects I performed training analysis and design. As a Macromedia Accredited trainer, I delivered the company’s Macromedia Director “Animation” and “Lingo” training courses.


Unipart  //  Sept 1994 – Sept 1996

Multimedia developer with Unipart’s multimedia and marketing unit. Marketing projects included touch-screen kiosks, intranet systems, laptop-based sales tools, and promo materials for corporate clients including Land Rover, Jaguar, Philips, Lego, Datasonix, Nuclear Electric, and Unipart International. Roles included application design and coding, graphic design (3D and 2D), customer liaison and project management.



The University of Salford     

B. Sc. Hons., Information Technology


1994 – won Unipart Dissertation Prize for final year dissertation on methodology / pipeline for developing multimedia applications and trends related to digitization and distribution of multimedia information.

1992 – won Rank Xerox Prize as team leader of student software team. The team developed a data-driven expert system for real-time analysis of supply/demand levels for products distributed by a major UK warehouse supply chain. Work was subsequently sold to IBM as basis of new software product line.



Visual Effects Awards::
2012 VES Award for Best Virtual Cinematography for “Hugo”
2011 Satellite Award for Visual Effects for “Hugo”
2008 VES Award for Outstanding Created Environment for mini-series “John Adams”
2005 VES Nominee for Outstanding Supporting Visual Effects in a Motion Picture for “Memoirs of a Geisha”


2008 – Emmy Certificate: Best Visual Effects in a Miniseries – “John Adams”
2006 – Emmy Certificate: Best Visual Effects in a Miniseries – “The Triangle”


Pre-Visual Effects Career Awards::
2001 – CES Innovations Award
2000 – Society for Information Display “Product of the Year” Gold Award
1999 – Finalist at Macromedia European UCON
1999 – Computing Magazine’s “Training Company of the Year”
1999 – KnowledgePool Employee Gold Award for Excellence
1997 – ICL Company Gold Award for Excellence