Elson's career in VFX started over 30 years ago in the early days of The Computer Film Company in Soho, London. CFC was the first (technical Academy Award) to marry the new digital computer technology with the traditional optical, chemical world of film. A 'babysitter', looking after home built computers, code and film cameras. He just happened to be in the right place at the right time: the birthplace of Visual Effects.A working artist, his night shifts at CFC were the ultimate part-time job. After 8+ uncredited years in the back room on 80+ films from Memphis Belle to Eyes Wide Shut plus countless commercials, he went full-time with the brand new Millfilm as studio manager on Tony Scott's Enemy of the State and Ridley Scott's VFX Academy Award and VFX BAFTA winner, Gladiator.Heading to Germany, he cut his teeth as a VFX Producer on Jean-Jacques Annaud's Enemy at the Gates for Das Werk. Here he led a pop-up facility, hiring what were, at the time some of the first freelance VFX artists in Europe.Back in Soho after three years as a production VFX Producer in Canada, France and England, Elson founded Baseblack. Born out of an in-house VFX dept, thanks to a late award on Alfonso Cuarón's Harry Potter and the Prisoner of Azkaban (CG crows around the Executioner) and his own credit card. Baseblack as a start-up was one of the first independent VFX for film facilities in London. From just 3 artists it maxed out at around 50.13+ years and 36 movies later, the cost of entry went down, the competition caught up - then overtook. After a sabbatical as VFX Producer on Matthew Vaughn's Kingsman: The Secret Service, Elson shuttered the outfit to go client side.And after six years on the road, he crossed the food chain once again to become an Executive Producer for ReDefine. A startup within DNEG with offices in London, Barcelona, Sofia and Budapest. Two years in he expands beyond ReDefine to represent the whole of the DNEG group.