Outpost exists to make VFX
a positive experience.

Best known for bringing the Oscar-winning Rachael digi double to life for Blade Runner 2049, Richard has been a key figure of the VFX teams behind some of the most technically accomplished and visually arresting films of the last decade.

As Executive Creative Director and VFX Supervisor at Outpost VFX, Richard provides the global team with senior creative oversight when he isn't working as a VFX Supervisor either in-house or production-side. Equally at home on set working closely with the Director, DOP and wider creative team as he is in the studio at the helm of a substantial in-house artist team, Richard has a proven track record for delivering industry-leading visual effects on 1,000 shot film projects.

Beyond his well-known work on Blade Runner 2049, Richard's other career highlights include the spectacular full-CG 'Young Arnie' in Terminator Genisys, the ghostly pirate crew in Pirates of the Caribbean and the vast collection of vivid fantasy environments in The Nutcracker and the Four Realms.

Over the course of a 15-year career in film and episodic productions, Roni has become a knowledgable, pragmatic and truly personable VFX Supervisor with the rare ability to achieve an instant rapport with filmmakers.

Currently production-side VFX Supervisor on the upcoming Western epic from Universal, News of the World, Roni has been working side-by-side with Director Paul Greengrass and actor / producer Tom Hanks, having supervised the shoot in New Mexico. Set for release in late 2020, the film embodies the full gamut of visual effects provision including full-CG environments, high-end water simulation, DMP, face replacements and creatures.

Roni's reputation for going above and beyond has made him a firm favourite amongst the Directors he's worked with. While at Outpost VFX, he has supervised visual effects in-house for Fast & Furious Presents: Hobbs & Shaw (Universal) and The Green Knight (A24).

A Masters graduate of the prestigious National Film and Television School in London, Roni began his film career in his native Brazil where he cut his teeth on the breakout hits Elite Squad and City of God.

An Emmy-nominated VFX Supervisor, Jeremy has excelled across the VFX spectrum over the last 15 years. Recently, he was instrumental in bringing the third season of Westworld to screens as well as Marvel's Runaways and Star Trek: Discovery. In 2021 he joined Outpost VFX to help found its Los Angeles studio.

A testament to his unique versatility as a VFX Supervisor, Jeremy has established a strong body of work as both a compositor and 3D artist during his artistic career, with key roles on marquee films including The Road, Silver Linings Playbook, The Girl on the Train and Jack Reacher.

Additionally, while at DNEG he spent time as a Lead TD in the Virtual Production department, helping to build forward-thinking workflows and evaluating Unreal Engine within the VFX pipeline.

Outside of project work, Jeremy is a well-respected lecturer in VFX and game design and helped to kickstart the careers of a host of exciting emerging US talent in computer graphics.

Based in our Montreal studio, Sheen Yap comes to Outpost off the back of an impressive VFX career to date. Straight after graduating in 2009, Sheen trained with Lucasfilm on its 3DVFX Jedi Masters Programme and soon after received her first credit as Creature FX TD for Paramount’s Oscar-winning animated feature, Rango (2011).

Sheen then spent four years at MPC in various roles and later joined Framestore to become CG Supervisor. Here she left her creative mark on vastly technical projects including The Nutcracker and the Four Realms and The Call of the Wild, each of which featured intensive character and environment work.

Having now spent 12 years contributing to some of the biggest franchise pictures and episodic productions, Sheen has developed an expert understanding of the VFX pipeline and the unique creative challenges posed by every project.

Sheen’s contribution to high-end VFX has earned her credits on highly- anticipated film projects including Wonder Woman, Guardians of the Galaxy, Spectre and The Jungle Book. Most recently, Sheen delivered Flora & Ulysses as CG Supervisor, overseeing a large team of 3D artists.

Formerly Head of CG at MPC in Montreal, Mathieu joined Outpost in 2021 and has since supervised Outer Range for Amazon and the hotly-anticipated second season of the Emmy-nominated sci-fi Foundation.

As a CG Supervisor and specialist in creature FX and character development, Mathieu has creatively driven some of the most ambitious and recognisable CG-heavy films of the last decade, including Ghost in the Shell, The New Mutants, Maleficent: Mistress of Evil, X-Men: Dark Phoenix and The Nutcracker and the Four Realms.

Mathieu’s areas of expertise extend right through the character pipeline, with deep experience in creating bipedal, quadrupedal and amorphous creatures spanning the real world and science fiction. His record for delivering ambitious projects at the apex of VFX provision extends across over 40 feature films extending back to Harry Potter and the Deathly Hallows: Part 1 back in 2010.

Mathieu is available to you to discuss any and all character requirements you have, whether ‘real’ or imagined, with expertise that extends beyond this into environments and FX.

Developing a reputation as an accomplished VFX supervisor over recent years, John comes to Outpost with over 20 years of visual effects experience. His career to date has seen him cultivate a deep understanding of creative direction and technical problem solving with a particular focus on bringing challenging environment sequences to life.

Currently, John is serving as an in-house VFX Supervisor on Amazon’s The Wheel of Time, overseeing a highly technical award of high- concept fantasy environments. Prior to this, John worked on the critically acclaimed series Watchmen (HBO), where his talent for large scale VFX supervison enabled him and his team to produce stunning work that was loved by both the client and critics alike.

Most recently, John worked as senior compositor on the Oscar-winning Tenet and 2D lead on the Oscar-nominated News of the World (Universal). Paul Greengrass’ classic Western encompassed demanding creative work that had to be delivered during the Covid-19 lockdown. John’s ability to lead the 2D team meant the end result was uncompromised, creating historically correct and visually captivating Old West environments that played an important role in the story.

With a visual effects career spanning two decades, Ian is an experienced and talented VFX Supervisor, both on set and in post production. Ian provides creative and technical guidance to clients and has an acute understanding of shoot time pressures, making him a truly valuable partner on set or in the studio.

Boasting an impressive back catalogue of tentpole projects, Ian has left his creative mark on a wide range of productions, from Thor: Ragnarok (Marvel) to Paddington 2 (Warner Bros), managing 2D teams and as a VFX Supervisor, delivering thousands of shots over the course of his career. Currently Ian is working as in-house VFX Supervisor for a high-concept episodic production, overseeing the project from concept to delivery.

A testament to his adaptability and pragmatism as a VFX Supervisor, Ian was instrumental in the success of Paul Greengrass’s Western epic, News of the World, where he lead the team in creating vast CG environments, creatures and complex FX simulations, all while navigating the Covid-19 lockdown with the UK VFX team being sent home during production. Ian was nominated for the VES award for Outstanding Supporting Visual Effects in a Photoreal Feature for his work on the film.

Having spent over 25 years in the industry, Laurent Gillet has worked on tentpole shows for major studios including MPC, Cinesite, Rodeo FX and Mill Film. With extensive on-site experience, Gillet has become known for his ability to interpret a director’s vision and translate it into stunning visual effects work.

From Outpost Montreal, Laurent is leading VFX work on a highly anticipated Netflix show. In recent years, he supervised a large sequence for the Oscar nominated and VES Award winning Spider-Man: No Way Home, and while working on Disney’s fantasy epic Maleficent: Mistress of Evil, Laurent helped guide his team on over 250 shots, which featured complex environment and creature work.

In addition to his time as VFX Supervisor, Laurent has previously enjoyed stints as Head of CG and Senior Environment Artist, which has helped him develop a broad understanding of workflow at different stages of the pipeline. While working on Blood: The Last Vampire for Éclair FX, he built a 3D department from scratch especially for the project.

Over the course of his career, Laurent has developed a reputation for building strong client relationships and has gained insight into leading productions through smart decision making. He has been praised for his positive approach to problem solving as well as his ability to communicate with production teams, VFX crew and various other key below-the-line departments.

Dedication, motivation and exceptional creative problem-solving skills have powered Jason’s development into an exceptional VFX Supervisor with over a decade in high-end visual effects behind him.

Harnessing strong communication and organizational skills, Jason can translate complicated briefs to artists which empowers them to deliver work that matches the director’s vision. The ability to navigate intricate challenges whilst maintaining a cool head has helped Jason work to tight schedules without compromising on quality, maintaining both team morale and an excellent rapport with clients including Warner Bros, Netflix, Amazon and Sony.

As a production-side VFX Supervisor, Jason was at the helm for the third season of the action-thriller Hanna, overseeing the full season of six episodes for Amazon. Since then he has been on set, providing hands-on VFX supervision across a six-month shoot.

As an in-house VFX Supervisor, Jason has in recent years led large creative teams delivering outstanding creative work for features including The Witches, Outlaw King and 22 July.

A multiple VES Award nominee, Robin has carved out deserved reputation as a creature, environment and FX specialist that can be trusted to deliver on the most complex creative ideas.

Robin’s most recent award-nominated work was on the second season of the hit Netflix fantasy, The Witcher. Alongside various environment challenges, Robin oversaw the creation of two monstrous creature sequences as CG Supervisor. One of these was the dynamic fight between Geralt and the full-CG Myriapod, a huge centipede-like creature with a mammalian head, multiple arms and slimy tentacles that all had to interact with talent.

Robin also lead the team that developed the full-CG environment that opens the latest DC superhero blockbuster, Black Adam. With a real-world scale of 50 square kilometres, this mountainous environment featured a large medieval-style castle alongside vast crowd simulations that populate the sequence.

Now, at Outpost, Robin has taken the reins as VFX Supervisor on the technically demanding upcoming Godzilla series for Apple, with an award consisting of complex environments and FX.

Award-winning VFX Supervisor Oliver Winwood has almost 20 years of industry experience, with a career that spans multiple disciplines across VFX supervision, FX and the wider CG department.

Oliver has been instrumental in bringing bold ideas to life, creating boundary-pushing effects for some of the highest-profile films and series of the last decade. He has an outstanding reputation for helping production teams realise their creative vision and produce memorable experiences for audiences.

An expert communicator, Oliver is the ideal conduit between clients and artists, ensuring his team have clear direction to fulfil the vision of the project. In 2017, he took home the VES Awards for Outstanding Effects Simulations in a Photoreal Feature for his work as CG Supervisor on Disney’s The Jungle Book – a highlight of his career to date.

Oliver’s vast portfolio includes major franchises such as Star Wars, the Marvel Cinematic Universe, DC and Harry Potter. He's delivered multiple key sequences, such as the climatic battle scene in Guardians of the Galaxy, and was instrumental in delivering almost 1,500 photo-realistic, full-CG shots for The Lion King.

With over 20 years in the industry, VFX Supervisor Christopher Antoniou has been instrumental in the creation of some of the most ambitious asset builds and creature work for episodic and feature projects to-date, including the highly technical build for Apple TV’s critically acclaimed Prehistoric Planet.

Other highlights of Christopher's impressive back catalogue include the Harry Potter and the Deathly Hallows Part II, Oscar-winner The Revenant and, more recently, HBO's House of the Dragon.

Christopher's creative problem-solving and strong communication skills allow him to lead large-scale teams seamlessly, skilfully interpreting complex briefs to create exceptional visual effects. His vast experience in asset development and creature work allows Christopher to provide creative and technical guidance for productions, delivering the highest quality of work within the tight schedules of episodic and feature productions.

Christopher has also taught visual effects at numerous educational institutes around the world, including Central St Martin's College of Art and Design, The Animation Workshop and The Cave Academy.

With over 15-years’ experience in the industry, Remi Martin has made valuable contributions to several high-profile film and TV productions. After working at a number of major studios, he now brings his varied expertise to Outpost Montreal.

Martin is best known for his work on the 2022 sci-fi adventure Dune, where he further developed his ability as a Supervisor, helping the team win the Academy Award for Best Visual Effects.

Martin began his career as an Animator at Illumination Studios Paris, working on the popular Minions franchise. After making the transition to VFX Compositing, he quickly rose to the role of Comp Supervisor, 2D Supervisor and VFX Supervisor. While working as a DFX Supervisor, Remi helped deliver almost 2,000 shots on an upcoming AAA project. With a career spanning several roles, Martin brings a wealth of knowledge to each project, as well as a keen interest in new technology and its implementation.