Geoffrey Hancock

I am a VFX supervisor and producer. I run VFX departments on film and television productions, and I build the tooling that makes that work possible when there is no department to hand it to, just one person and the schedule.

Twenty five years of it. I hold a VES Award for Changeling, and a Robert nomination for Skammerens datter II. I have supervised visual effects on films directed by Clint Eastwood, the Wachowskis and Ben Affleck: Changeling, J. Edgar, Invictus, Argo, Cloud Atlas, along with Twilight, Night at the Museum and Red Dawn. On Atlantic Crossing I ran the full VFX lifecycle across vendors in Belgium, Germany and Scandinavia. On LEGO Ninjago I art directed seasons coordinating Danish and Chinese teams.

Through Wangle Media in Copenhagen I have delivered animation, VFX and real time work for Netflix, Pandora, LEGO, Sony, Kia, BRIO, Novo Nordisk, Mint Copenhagen and M2, and collaborated with Larissa Sansour on In Vitro, which won at the Venice Biennale and went to Netflix.

Work under a live NDA stays unnamed here, so the feature I am on this year is just that: a feature in production.

I work through Wangle Media, and I build production tooling as a matter of course, because the tools that exist rarely fit the job in front of me. Breakdown Studio, an open-source shot-breakdown pipeline, is the first of that tooling I've shipped publicly, released under the MIT license.

The thing I actually do, in one line: supervise the shots, engineer the pipeline, and orchestrate the AI with the right guardrails, on the same production, at the same time.

Elsewhere

• Breakdown Studio, open source on GitHub
• Notes, writing on pipeline and production
• the course, 3 September, on the method