Mark Lambert - VR Director & VFX Supervisor



Currently telling stories in the world of VR and vfx for everything from shooting and directing 360 video to on-set VFX Supervision for TV/film projects on the East Coast.



Mark Lambert
206 Kristen Lane, Chester, Va 23836

804-397-5767 MarkLambertFX@gmail.com


With almost 30 years in the world of animation and VFX, I look for creative projects that I can be proud to have been a part of and productions that offer that perfect culmination of challenging shots and a bunch of great people to make them happen.



DEMO REELS 

I spent 15 years working on feature films and was involved in the production of over 20 features. From writing key software used in films such as Species and Air Force One, I moved on to become a CG and DFX Supervisor on films, leading teams of up to 80 artists to create some of the most ground-breaking visuals to hit the screen. This reel has some of my favorites.

VArtisans Sizzle Reel

A reel of some of the shots from 2016 ... unfortunately can't show any of the professional work until it's released next year.



RECOMMENDATIONS “a standout in an industry overflowing with talented individuals”, “a decisive and strong leader”, “the most technically savvy Sup I had, and one of my favorites”, “a rare find “, “the kind of leader that inspires excellence in those he supervises”, “Mark rocks”. (full recommendations below)


SUMMARY

I started this journey as a senior online editor (commercials/music video/documentary) for 5 years at a post house where I also started the animation department,

I wrote code for a few years and created the industry’s first commercial RenderMan interface that was then sold to Boss Films, Warner Digital, Sony Imageworks and others,

owned my own animation boutique (14 employees), directed TV commercials (Chester Cheetos), did on set supervision for music videos (Van Halen) and commercials (Prell, Mercedes), was a creative director for print and early web design,

wrote RenderMan shaders for a lot of people and ...

have been a supervisor on some pretty groundbreaking work at Boss Films, Square USA, Hollywood Digital, Sony Pictures and Starz Animation. I got to lead teams that created the first Quidditch field in Harry Potter, the visual design of Polar Express and the talking wolves and foxes in the first Narnia movie.

I have now come full circle and returned to my hometown,Richmond Virginia. I spent 4 years as the VP/Creative Director for a post house working on everything from local to national spots and even some museum work and app development. 

I am currently looking forward to new freelance or full time opportunities in regional, national and feature work.

So far, it’s been a lot of hard work, a lot of fun, great people to work with and a lot of images I’m real proud of.


WORK HISTORY



VArtisans

Founder

December 2015 - Present  



VArtisans is a Virginia based team of artists, programmers and storytellers brought together to explore new ways of storytelling in virtual reality.

See more at VArtisans.com



Digital Oven VFX


April 2013 - Present  



Digital Oven is my "nom de guerre" for baking up regional vfx and animation "using only the best ingredients".  

See more at digitalovenvfx.com





AMC - TURN

On Set VFX Supervisor

Jan-Feb 2016

Provided on set VFX Supervision as needed for AMC's revolutionary war story about Washington's spies, freeing up the studio VFX supervisor for location scouts and production planning. 


TNT - GOOD BEHAVIOR

On Set & Post VFX Supervisor

Sept 2015 - Dec 2015 

Providing on-set and post VFX supervision for the TNT show Good Behavior. Supporting bidding, on-set work, shot design and supervising post vfx work for this TNT pilot, a drama from “Wayward Pines” creator Chad Hodge starring Michelle Dockery. The project is based on the Letty Dobesh novels by author Blake Crouch


PBS - MERCY STREET

On Set VFX Supervisor

March 2015 - June 2015 

Provided VFX supervision for the new PBS/Scott Free production of a civil war drama coming out in 2016. Spotted scripts, developed VFX shot designs and lists, worked with VFX vendors during bidding process. Created animatics/previs for several of the largest shots. Provided on-set supervision for numerous set extensions and greenscreen work.



AMC - TURN

On Set VFX Supervisor

Jan 2015
 

Provided on set VFX Supervision as needed for AMC's revolutionary war story about Washington's spies, freeing up the studio VFX supervisor for location scouts and production planning. 

Park Group

VFX Supervisor/Creative Director/VP

Dec 2008 - April 2013   

On-set VFX Supervision, 3D animation, After Effects 2D animation and complex compositing.

Provided overall leadership and vision for Park’s creative teams and manage the development and implementation of creative strategies across multi-disciplined departments.


Sheepish


VFX SUPERVISOR

May 2006 - April 2007 

Starz Animation


Supervised all aspects of this computer animated feature including initial technical and budget assessment, creation of a completely new feature pipeline and oversight of asset creation with modeling and surfacing, I also helped define workflows, technology and creative approaches for all departments from layout to animation to lighting. Held daily rounds with the director to assist in creative and technical decisions. Unfortunately, Starz has put on hold all three animated features it acquired when it purchased IDTE.





Jan. 2005 - Nov. 2005 

Nominated for Academy Award for Best Visual Effects
Sony Imageworks


Supervised the look development of talking wolves, a fox and the White Witch castle interior and exterior set extensions. Because the wolves had to exactly match their live counterparts, numerous advances were made in grooming and shading techniques. Please click on the Narnia title above for more information.


The Polar Express


DFX Supervisor

Oct. 2002 - Nov. 2004 

Sony Imageworks

Supervised the initial look development of characters and environments. Oversaw the lighting of 1/4th of the movie's shots (23 minutes worth) including three shots that were over 2 minutes in length. Helped design and supervise the critically acclaimed "ticket ride" sequence, a single shot that involved 7 environments, wolves, eagles, waterfalls and snowballs following along the path of a drifting ticket. Please click on the Polar Express title above for more information.


Men in Black II


CG Supervisor

March 2002 - June 2002 

Sony Imageworks

Supervised the design and completion of the movie's title sequence where an alien spaceship travels the universe blowing up planets in a campy 50's style.


Harry Potter and the Sorcerer's Stone

CG Supervisor

Oct. 2000 - Nov. 2001 

Sony Imageworks



Supervised the look development of the characters including digital doubles and a three headed dog. Authored the hair and initial skin shaders for the show, adding numerous additions and improvements to Sony's hair technology.


Hollowman

Sequence Supervisor 

Jan. 2000 - July 2000 

Technical Lead for final transformation technology
Nominated for Academy Award for Best Visual Effects 

Sony Imageworks

Brought in for the last five months to take over the numerous transformation technologies that revealed bones, veins, organs, skin and heart. I supervised 12 shader and effects artists refining or changing the techniques used for the ground breaking transformation sequences. In addition, I wrote the vein shaders and supervised the sequence at the end where Kevin Bacon is invisible but covered in water and is electrocuted.



Stuart Little


Renderman Shader writer for cloth

March 1999 - Nov. 1999 

Sony Imageworks

Created numerous Renderman shaders for Stuart's cloth and setup standards, instructional web pages and supported lighting team.




Wing Commander

CG Supervisor

July 1998 - Nov. 1998 


Digital Anvil


Working with a beta version of the first release of Maya, I was brought in to improve productivity of this brand new software (and supervise shots). After profiling the software, we were able to increase rendering speeds from 4 to 10 times faster. Working with a small 16 man team, we were then able to final over 400 shots in less than 4 months with this beta (i.e. still buggy) package.


Parasite Eve

Motion Capture Supervision
Character Animation and VFX

August 1998 - Dec. 1998



Square USA

I was brought in to finish two sequences that were facing challenges.  One in particular, an alien opera singer that sets fire to a theater (with paniced crowd scenes and burning people falling from balconies) was a true blast to work on.




The X Files Movie

VFX Supervisor

April 1998 - June 1998 

Hollywood Digital

Supervised Houdini and Inferno work for the addition of breath fog in the "cold" outdoor environments. Developed techniques in Matador for background replacements and cleanup.


From The Earth To The Moon


VFX Supervisor

Jan. 1998 - April 1998 

Hollywood Digital


Developed moon surface shaders and supervised shots for 4 shows.



Air Force One

Shader Writer

Feb 1997 - July 1997 

Boss Films

Developed Renderman shaders and supported the use of my WaveMan software. Oversaw development of textures and rendering for the plane crash sequence.




Mind's Eye Graphics

Owner/President 

Richmond VA 
Nov. 1988 - Feb. 1997


Mind's Eye Graphics began in 1988 when I wanted to focus solely on computer animation. To build up capital, I wrote software for Side Effects (Houdini), Alias, Wavefront, Symbolics and other packages. At that time, there was no commercially available interface to the highly superior RenderMan rendering software used at ILM. To take advantage of this software, I created the WaveMan interface in 1990. This software was eventually purchased and used successfully by Boss Films, Warner Digital, Sony Imageworks as well as video production companies.

In 1991, I formed an animation boutique in Richmond Virginia. With a small group of 8 to 12 artists, we created animation for local and national advertising agencies, worked in digital print and even early Web work. Some of our work included:Some of the earliest work in creating digital humans. With research funding from GTE, we worked on creating a digital Marilyn Monroe with hardware and software primitive by today's standards. Rendering frames with hair would take over 20 hours at TV resolution, but we still created a test that was written up in magazines like Wired, Computer Graphics World and the Hollywood Reporter. While today digital doubles are common, ten years ago SAG nearly called our work blasphemous in forums.
After writing a custom ink and paint system, I directed several cel animated Chester Cheetoh spots (the cheese eating cat).
We created cars that formed out of a block of metal for Dodge, hair styles that morphed for Prell Shampoo and I even directed the rollout video for Mercedes new C-class car.
I had the opportunity to be a creative director and created the theme and concepted/supervised the art for the Girl Scouts cookie campaign (posters, games, flyers, etc.).
We designed and created the first web site for Bell Atlantic (now Verizon) and for the Family Channel. I was the first speaker at two major national advertising conferences to ever talk about "the Web". While I predicted most of what the web is today, I didn't predict the dot com boom and went back to focusing on animation.
We worked on several "9-1-1" shots for films hoping to get our foot in Hollywood's door such as "Mighty Morphin Power Rangers", "Hellraiser 5" and even "Pterodactyl Woman from Beverly Hills" (don't ask).



As I started thinking up script concepts, I had hoped that we could create an East Coast company to create animated films (which Blue Sky eventually did). With a highly regarded local art college (VCU) to provide a custom trained workforce, we had a business model that turned out to be ten years ahead of it's time. Finally realizing this, I closed the Richmond office down in 1997 and started commuting to LA.


Interface Video

Senior On-Line Editor/Computer Animator 

Washington, DC 
Nov. 1984 - Nov. 1988 

I was employed at Interface Video to create a computer animation department at a time when there were no commercially available packages and computers had about the power of a Palm Pilot today. From scratch and with little literature available, I wrote early modeling, animation and even particle effects software. We eventually bought Wavefront software that I began expanding with custom software to create effects the package was not capable of. During this time, I also began editing TV spots and soon became one of the two senior editors at the facility. While we created amazing effects with motion control cameras, Paintbox's and our Wavefront software, most of it would be crude by today's standards. I am very grateful I had a chance to be an online editor and I still use what I learned about cuts, pacing, audio mix and story. Perhaps the most interesting work I did as an at Interface included:I became one of the top 3 political campaign editors in DC. Both Democrat and Republican consultants requested me to cut those really nasty negative campaign spots. I worked on around 60 different Senate campaigns, sometimes for both sides. Turns out I had a good feel for "subliminal cutting" as one consultant called it . I will probably burn in hell for this.
I worked on the first animated graphics ever used in a State of the Union Address. It was a "larger than life" experience, getting an audio tape of President Reagan and then talking to White House Communications Director Pat Buchanon and (then unknown) Oliver North about how we could best portray the evil communist empire's designs on Nicaragua (we even had a ferocious bear dissolve in over the horizon in one version). This same year, the Democratic National Committee offered me the job of heading up their video center.
A year before it was a huge hit at Siggraph, I wrote software to take satellite data and images to create flythroughs of the terrain. Pitching it to the evening news channels (it turned out too slow to create for an evening broadcast), I didn't think of submitting to Siggraph.
I also cut regular TV commercials and even the newly popular "music video". I once cut an hour long music special in Spanish. I don't speak Spanish. I had worked with the producer from SIN (Spanish International Network) before and he brought in a translator that would translate live as I watched the footage.
I helped to update the design of the maps and graphics used for National Geographics Explorer series. While today we don't think twice about map graphics, at that time, maps on TV were always solid colors and never moved. It was kind of like the wheel, so obvious but it still took someone to be the first. We plundered National Geographics vaults for their beautiful textured and dimensional maps and created moves on them or zooming out a yellow boxed area to fill the screen. Soon after, we noticed that all the major news channels began using the same styles and techniques (that I still see today).


References
Dave Trownsell, President, Park Group
Matthew Teevan, Producer, Starz Animation Toronto
Sean Phillips, DFX Supervisor, Sony Imageworks
Alberto Menache, DFX Supervisor, Sony Imageworks




Recommendations
(from my LinkedIn Site)
VFX Supervisor

Starz Animation

“Mark Lambert was my VFX Supervisor at a brand new feature film digital studio whose pipeline was still being developed. The aspect of Mark's management style that I most appreciated was that he would set a goal and trust (with coaching if necessary) that I and our various teams would achieve it -- this created a space for me to maximize my and my team's performance. He was a decisive and strong leader yet I felt comfortable sharing my ideas. One of Mark's trademark abilities is to shepherd a meeting and to keep it on point regardless of how off-tangent an impassioned meeting may temporarily become. I enjoyed working for Mark and I look forward to working for/with him again.”

Bernard O. Ceguerra, P.E., CG Supervisor, Starz Animation
reported to Mark at Starz Animation
DFX/CG Supervisor

Sony Pictures Imageworks

“During my time at Sony, Mark was the most technically savvy Sup I had, and one of my favourites. He was terrific to work for, always knowing what he wanted in a sequence and how to go about achieving results. He trusts artists that know what they're doing and doesn't micromanage. I really respected that he would leave the decision up to me in how to address a change on a shot, and it made me more productive as a result. I also respected that no matter how stressful things got with the schedule and production bearing down on him, Mark always remained calm with us and knew we'd deliver on time. He's a rare find in an industry full of blow-hards and egotist supervisors by his awesome attitude and professionalism. It was incredibly rewarding to work with Mark and I would love to work with him again.”

David Menkes, Color&Lighting Technical Director, Sony Pictures Imageworks
reported to Mark at Sony Pictures Imageworks

“Mark rocks, The signature Zemeckis Forest Gump feather was revived for the Polar express ticket sequence … I was assigned to work close with Mark to insure that this long sequence was seamless. His decisiveness as CG soup ;) was dead on and played a large roll in why this was the most impressive rendered sequence in the film. I would recommend and work with Mark as a CG soup anywhere any time in the future and on any planet in the universe (oh, I slipped... Those were the contract terms ;) Rock on Mr. Lambert... ”

Joe Spadaro, Character Pipeline Lead - Ghost Rider ( Sr. Technical Animator ), Sony Pictures Imageworks
worked indirectly for Mark at Sony Pictures Imageworks

“Mark was the kind of leader that inspires excellence in those he supervises. He allowed ideas to be presented outside the rigid structure of corporate titles. On Narnia we were able to introduce new software solutions into the pipeline as a result of his open minded approach. The success of the Ice castle models and scene extensions was the direct result of this management style. He has a friendly easy going style that is easy to get along with.”

Richard Suchy, Senior Modeler/Texture TD, Sony Pictures Imageworks
reported to Mark at Sony Pictures Imageworks



Mark Lambert is an exceptional CG Supervisor and digital artist and I am pleased to be writing this letter of recommendation.

Mark Lambert served as CG Supervisor at Sony Pictures Imageworks on several films, including The Polar Express. As the Executive Director of Training and Artist Development at Sony Pictures Imageworks I have had several opportunities to work directly with Mark. I was immediately impressed with Mark’s passion for film as well as his knowledge of the intricacies of shader development and rendering.

Mark is dedicated to this industry and is a creative and talented CG Supervisor who is a standout in an industry overflowing with talented individuals. As a long standing member of the visual effects industry, I highly recommend Mark Lambert for his leadership and talent and know he will be an excellent addition to your organization.

If you'd like to discuss his talents and attributes in more detail, please don't hesitate to contact me.



Sande Scoredos Sony Pictures Imageworks

sande@scoredos.com




Contact: marklambertfx@gmail.com