Ben Outerbridge Lead Compositor

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1 Ben Outerbridge Lead Compositor E vfx@benouterbridge.com C +1 (604) W QUALIFICATIONS COMPOSITING -Comfortable working on all types of shots as well as driving and developing the look of characters or sequences to be shared between artists and facilities. -Experience working with native stereo and deep compositing. -Proficient with Python, TCL, and Nuke Expressions. LEADERSHIP -Experience leading teams of up to 30 artists in both television and feature films. -Developed the look of major characters and environments that were shared across facilities. -Established tools, templates, and processes for large (600+ shot) projects. TECHNICAL A solid understanding of: -Cameras, formats, colour space, bit depth, and compression. -AOVs, beauty construction, and rendering engines. -Overall vfx, compositing, and colour pipelines. DISCIPLINES -Feature Films -TV -Commercials

2 EXPERIENCE Nov 2018 Feb 2019 Sept 2018 Nov 2018 Aug 2018 Sept 2018 June 2018 Aug 2018 Sept 2017 June 2018 May 2017 Sept 2017 Feb 2017 May 2017 Sept 2016 Feb 2017 June 2016 Sept 2016 [Lead Compositor] Greyhound Double Negative I am currently working as a Lead Compositor on Greyhound, a Tom Hanks naval war film. [Lead Compositor] Holmes and Watson Double Negative I was the only Lead on this project, guiding a team of about 15 artists while also compositing shots. The work consisted of explosions, a CG Titanic, and motion graphics. I developed the tilt-shift effect that appears when Holmes is running calculations in his head. [Compositor] Bad Times at the El Royale Double Negative I was the only compositor in the Vancouver facility for this show. Working closely with the VFX supervisor I helped guide artists that work in our Mumbai site while also jumping into shots and helping when needed. [Compositor] Godzilla: King of Monsters Double Negative I was responsible for compositing some of the large FX-heavy shots of Gidorah in the lightning storm. [Lead Compositor] Ant-man and the Wasp Double Negative I lead a team of 30 compositing artists on the Warehouse Chase and Quantum Tunnel sequences, totalling about 300 shots. Responsibilities included: guiding the look of the shots and providing creative feedback, assisting artists with technical challenges, managing delivery expectations, tech-checking work from both Vancouver and Mumbai facilities, and working closely with the comp supervisor to tackle bigger technical and creative challenges. Along with leading I was also responsible for the look-devolopment and templating of the new character, Ghost, and her phasing ability; as well as the Quantum Tunnel. Both these effects were shared and matched to by other vendors. [Compositor] Meg Double Negative I composited hero underwater environment and creature shots for The Meg. I drove the look of the submarine and deployable lights. [Compositor] The Mummy Double Negative Worked on a large hero shot involving an aeroplane being engulfed by a sandstorm and then blasting out of it at the very last minute. [Compositor] Annihilation Double Negative Worked predominantly on an 800+ frame full-cg fly-over shot in addition to burning trees, and disembowelling. [Compositor] Fantastic Beasts and Where to Find Them Double Negative Developed the look and composited shots of a holographic character floating in the air. Worked on several green-screen shots in Senator Shaw's office.

3 March 2016 June 2016 [Compositor] Star Trek: Beyond Double Negative Composited shots in the Yorktown space station. Specifically, the enterprise docking into the space station, an establishing shot of the base, and a 360 degree camera move of the city being attacked. Shots involved hard surface vehicles, architecture, and plate integration. Jan 2016 March 2016 [Compositor] Snow White and the Huntsman Double Negative Composited shots that involved a golden statue of the Queen character shattering into pieces as well as characters sliding down a magical wall made from ice. June 2015 January 2016 [Compositor] Alice Through the Looking Glass Double Negative Composited shots in the opening sequence of the film where Alice's ship is being chased by a fleet of junks during a chaotic storm. Shots included full CG hero shots, as well as black-screen plate shots. August 2014 June 2015 [Compositing Supervisor] Zoic Studios I supervised a team of compositors on the episodic show Once Upon A Time, approved and reviewed artists' work, attended client calls, and strategised with the Visual Effects Supervisor and Lighting Supervisor about shot methodology. Helped build and maintain the show's 2D pipeline including: colour workflow, shot workflow, tools, and procedures. Gave feedback and assisted artists with their composites. Worked with the lighting, FX, animation, paint and roto, and layout departments to troubleshoot problems and provide compositors with quality elements to complete their shots. Approved artists' work for client review. Made creative and technical decisions about the work being sent to the client. May 2013 August 2014 [Look Development Compositor] Zoic Studios I worked one or two episodes ahead of the rest of the team on obtaining look sign off from the client on various sets and effects that I would then template and deliver to the team. I developed the look of virtual sets, sequences, characters and effects for Once Upon a Time: Wonderland. This project had a very ambitious accelerated schedule ( shots every 2-3 weeks). I also performed general compositing tasks on shows such as Constantine, Falling Skies, and Banshee (HBO).

4 Sept May 2013 [Sequence Lead Compositor] Zoic Studios Managed a small team of compositors across sequences for Once Upon a Time. Responsibilities included: look development, approving shots for supervisor review, team management, shot-assignments and time estimations, strategising approaches to the work in consultation with other departments and supervisors, and general compositing. Feb - May 2012 [Compositor] Prometheus Fuel VFX Composited shots on the holographic engineer sequence. Jan - Feb 2012 [Compositor] Prometheus Rising Sun Pictures Composited shots on the dust storm sequence. Sept - Nov 2011 [Compositor] Happy Feet Two Dr. D Studios Composited creatures in the elephant seal sequence. April - Sept 2011 [Compositor] Red Tails Rising Sun Pictures Worked on establishing shots of a CG airbase and aerial fighter plane sequences. Sept April 2011 [Compositor] The Green Lantern Rising Sun Pictures Composited shots in the aerial dogfight sequence including interior bluesceen cockpits with 3d projected matte paintings and CG visors, exterior aircraft shots involving volumetric clouds, heat haze, and aircrafts. Was a key contributor to the look-development and compositing of the ejection sequence. June - Sept 2010 [Compositor] Harry Potter and the Deathly Hallows I Rising Sun Pictures Composited Lady Umbridge s patronas cat in the Ministry of Magic courtroom sequence. March - June 2010 [Compositor] The Dragon Pearl Rising Sun Pictures Rig and wire removals, greenscreen keying, and CG integration. Jan - March 2009 [VFX Supervisor/Generalist] Shifters - Episodes 1-4 Lit and composited CG creatures and hard surface vehicles, created and composited FX elements, matte painted and composited a post-apocolyptic city.

5 EDUCATION Bachelor of Film and Screen Media Griffith Film School With a focus on Visual Effects and Cinematography Bachelor of Arts (English Literature) University of Queensland Arts degree majoring in English Literature. OTHER SKILLS I have a background in on-set cinematography and photography.

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