David Morehead Email & Phone Number

Los Angeles, Ca, Us

Los Angeles Metropolitan Area

Helping Directors find the cinematic language of their film. Working closely with Art, Story, & Editorial to introduce 3D Camera & Environments to pre-production.

Los Angeles Metropolitan Area

Camworks is a Parent company for my latest contribution to the industry, a webGL-app called "Dutch" designed to bridge the gap between 2D pre-production & 3D production. Coming soon for all Artists & Studios.

Los Angeles Metropolitan Area

First full tests using my 2D+3D process and "Dutch" software on several projects in development.

Greater Los Angeles Area

"Spiderman : Into the Spider-Verse" 2019“Smurfs The Lost Village” 2016“Arthur Christmas” 2011 “Cloudy With a Chance of Meatballs” 2009Began Scouting in pre-production to define the Cinematic Language of the film, then carry that vision through production with Rough and Final Layout crews. Collaborate closely with the Directors, Art, Story, Editorial, and the fantastic Imageworks VFX crew.

Greater Los Angeles Area

“Abominable” 2014 (released in 2019)“BOO - Bureau of Otherworldly Operations” 2013 (unreleased)Cultivated the "Scouting"​ process and introduced Flix to the DW studio when it became commercially available via The Foundry. With Scouting & Flix we gained an unprecedented level of creative collaboration between Art, Story & Camera.

Greater Los Angeles Area

“Cloudy With a Chance of Meatballs” 2009“Arthur Christmas” 2011 Joined Sony in 2006 to explore my new approach to the pre-production process and designed software that became "Flix" ..currently the industry standard pre-prod solution (patented & submitted for an Academy Sci-Tech Award in 2013) While at Sony, supervised a full crew of Rough & Final Layout artists, and Chaired the Sony "Layout Council" which worked with every internal show and software dept, plus Autodesk and Disney… Show more “Cloudy With a Chance of Meatballs” 2009“Arthur Christmas” 2011 Joined Sony in 2006 to explore my new approach to the pre-production process and designed software that became "Flix" ..currently the industry standard pre-prod solution (patented & submitted for an Academy Sci-Tech Award in 2013) While at Sony, supervised a full crew of Rough & Final Layout artists, and Chaired the Sony "Layout Council" which worked with every internal show and software dept, plus Autodesk and Disney Feature Animation to jointly develop "Maya Camera Sequencer" (now the de facto maya Layout / Cinematography tool) Show less

Greater Los Angeles Area

“Prince of Egypt” 1998 | “El Dorado” 1999 | “Spirit” 2001 | “Sinbad” 2003 "Father of the Pride" (TV series) 2005Senior Creative Lead since being recruited by DreamWorks in 1995 to help form the DW studio and build + head the "Scene Planning" department. During eleven years at DW; supervised four features, an all-CG Prime Time Network TV series, and spearheaded development on their original animation pipeline (patented & submitted for an Academy Sci-Tech Award in 1998) for… Show more “Prince of Egypt” 1998 | “El Dorado” 1999 | “Spirit” 2001 | “Sinbad” 2003 "Father of the Pride" (TV series) 2005Senior Creative Lead since being recruited by DreamWorks in 1995 to help form the DW studio and build + head the "Scene Planning" department. During eleven years at DW; supervised four features, an all-CG Prime Time Network TV series, and spearheaded development on their original animation pipeline (patented & submitted for an Academy Sci-Tech Award in 1998) for seamlessly integrating the 2D-paper and 3D-digital worlds. Show less

London, United Kingdom

“Were Back A Dinosaur Story” 1993“Balto” 1995Formed the "Digital Scene Design"​ dept at Amblimation in London in 1991. Over the span of three years and two features, we pioneered the transition from Traditional Animation studio to a digital pipeline. (Camera, Ink & Paint, EFX, & Compositing) ..making Amblimation the First (non-Disney) all-digital feature animation studio in the world. The job titles we use today had yet to be invented, the role was basically a "VFX Sup" as we literally… Show more “Were Back A Dinosaur Story” 1993“Balto” 1995Formed the "Digital Scene Design"​ dept at Amblimation in London in 1991. Over the span of three years and two features, we pioneered the transition from Traditional Animation studio to a digital pipeline. (Camera, Ink & Paint, EFX, & Compositing) ..making Amblimation the First (non-Disney) all-digital feature animation studio in the world. The job titles we use today had yet to be invented, the role was basically a "VFX Sup" as we literally invented a system to deliver 1100+ shots from Capture to Comp through Filmout. Show less

San Diego Ca.

“An American Tail II Fievel Goes West” 1991Gained fundamental digital production experience at American Film Technologies. AFT's primary business was Classic Film Colorization which required visually deconstructing each film frame by frame providing rare insight into classic film making. While at AFT, I embraced every opportunity from Colorist, to Color Stylist, to Online Editor, and eventually into Research & Development. We partnered with Oxberry & Solitaire to develop the first… Show more “An American Tail II Fievel Goes West” 1991Gained fundamental digital production experience at American Film Technologies. AFT's primary business was Classic Film Colorization which required visually deconstructing each film frame by frame providing rare insight into classic film making. While at AFT, I embraced every opportunity from Colorist, to Color Stylist, to Online Editor, and eventually into Research & Development. We partnered with Oxberry & Solitaire to develop the first commercial "Cinnescan" film-in / film-out digital restoration system. In 1990, Disney contracted us to restore & colorize all their early B&W cartoons, (including Steamboat Willy) ..which led to Digital Ink & Paint, and began my career in Animation. Show less