Steve Hardy Email & Phone Number

London Area, United Kingdom

London, United Kingdom

Responsibility for all CG departments, managing a whole crew of artists. Creative Supervision of all output from 3D departments. On-set supervision of VFX shoots, including planning both technical execution and schedule of photography. Close collaborationwith production to help bid and schedule the work correctly. Deciding where necessary on the technical execution of CG work and liaising with all departments to ensure efficiency. Briefing artists and giving feedback on their work.

London, England, United Kingdom

On set VFX Supervision of A Quiet Place 3. Working closely with the director, DOP and other HODs during pre-production deciding on shoot methodology and capture. Supervision of the on-set VFX team ensuring accurate capture of all elements.

London, United Kingdom

Preparation of motion control systems, multi camera arrays and bespoke reference capture rigs. Supervision of test shoots and a remote camera unit for environment capture. Stand-in for 2nd UnitVFX supervisor. Shoot methodology planning including tech-vis.

London, United Kingdom

London, United Kingdom

Leading a small team of artists to prepare all of the motion control cameras and motion base movements used on Star Wars: The Last Jedi. Collaboration with stunts to ensure safe operation of equipment.Used as a stand-in for the main VFX Supervisor when shooting plates on the Russian Arm and Aerial units for a high speed sequence in Bolivia.

London, United Kingdom

Working without support to create a fully procedural pipeline for applying lookdev to animation scenes within Maya. Including a scene builder, Shader exporter, Particle generator, Asset importer and Multiview playblaster. All for use while bidding new shows.:Fully automated creation of techvis animations starting from animation scenes all the way through to final movie submission. This helps to allow notes to be given on animation versions right up to the deadline for delivery, ensuring any techvis needed can be quickly produced.

London, United Kingdom

Avengers Age of Ultron:Responsible for lighting and rendering complex sequences of shots, containing large CG characters, multiple layers of FX simulations and photoreal props. Liaising closely with other departments to ensure the best final result for the shot.Lookdev of assets to ensure a reliable photo real look in different lighting environments.Antman:Photoreal CG extension of a characters wings.Spectre:Realistic lighting of CG digi doubles to mix seamlessly with a live action plate.

London, United Kingdom

Responsible for all data and reference capture on location for Star Wars: The Force Awakens and Avengers: Age of Ultron. Including ground and aerial photography.

London, United Kingdom

A varied role including designing, building and lighting of a large alien environment. Tasks also include; the design and implementation of a new tool set; training artists on new tools and helping to develop a new instancing workflow for Framestore.Responsibilities:Environment Design and Layout; Lighting Development; Tool Design and implementation (mel and python); Team Supervision

Leavesden Studios

Working on set for The Wachowskis next film: Jupiter Ascending. Tasked to work directly with the clients on set, mainly to devise shoot methodology for complicated action and stunts, restaging the previs for use as a visual aid. Wrote and implemented a multi-company set of tools to allow for easier integration between 3 different vfx houses. Design of live HUD readouts for multiple motion control systems (KUKA 6 axis robot & Moog Motion Base). Creation of a coordinates based real world exporter for robot moves designed in maya. Trusted to work for an extended period of time away from the office and without support.

London

Gravity: Responsible for the simulation, lighting and rendering of all 'thrusters' in the film (Soyuz spacecraft and astronaut jetpack). Also solely responsible for the simulation and rendering of the external fire extinguisher used in the middle part of the story. Towards the end of the project, I also became involved in the accurate simulation of floating props within the Chinese Space Station.47 Ronin: Designed and implemented an automated system to simulate ground interaction for snow, dust and pebbles. Also responsible for ground smoke.

London, United Kingdom

Tasked with conforming the live action plates, back into the previs with as little disparity as possible (for animation blocking). Worked closely with 2D leads to lock down the location and timing of any necessary plate blends, and to ensure the effective transfer of plate data through the pipeline to final animation and comp. I also helped develop an early 3D prototype of the film for studio executive sign-off.

Shepperton Studios

Instrumental in the design and testing of motion control robot moves which ensured accurate recreation of the previs. Supported multiple stages when filming these moves for the full duration of the shoot. Trusted to lend a helping hand wherever necessary, providing technical support whenever the shoot supervisor was otherwise engaged.

London, United Kingdom

One of the first 6 people to start work on Gravity. This initially involved lighting tests, lightbox development work, lookdev of space shuttle assets for the prelight and development of shoot methodology for the extremely long takes. As the movie progressed, I took a pivotal role in the team of people tasked to visualise how each beat was to be shot. I scripted a complex tool which enabled a large part of this to be fully automated, with various options for the user; greatly speeding up the process. Also involved with the upgrade of Framestore pipeline to enable the show to be completed

London, United Kingdom

Lighting of the 'Throne room' sequence in Clash of the Titans; a complex set extension with a drastic change in lighting. Help with the look development of the background walls, foreground map and throne set pieces.

London, United Kingdom

The sole Environment TD on the team for the final weeks of delivery. Responsible for lighting the background set, volumetrics and 2.5D Digital Matte Painting projections.

London, United Kingdom

Responsible for layout of stationary and animated assets in the 'Hells Gate' sequence, including "Amp Suits" and digi-doubles. Also tasked with camera placement for set extension work. Working closely with Pipeline TDs to implement a brand new pipeline for the show.

London, United Kingdom

One of a team of matchmovers for a variety of shows. Camera, object and facial tracking using UV unwraps to ensure stabillity.AvatarWhere the Wild things areClash of the TitansHarry Potter and the Deathly HallowsNanny McPhee 2