VFX and animation studio DNEG has appointed Paul Riddle as Executive VFX Supervisor of its TV offering in London, coinciding with the release of a slate of new productions.
Riddle was part of the original team that set up DNEG (or Double Negative as it was then known) in 1998. He has more than 20 years of experience, working on many of DNEG’s biggest productions. His film credits as VFX Supervisor include ‘Harry Potter and the Half-Blood Prince’, ‘The Tree of Life’, ‘John Carter’, ‘Fast and Furious 6’ and ‘The Da Vinci Code’, for which he received a VES Award nomination for Outstanding Supporting Visual Effects.
More recently, he was Overall VFX Supervisor on director Francis Lawrence’s ‘Red Sparrow’ starring Jennifer Lawrence, and supervised the visual effects for the Harry Potter theme park rides ‘Gringotts Wizarding Bank’ and ‘Hagrid’s Magical Creatures Motorbike Adventure’ for Universal Orlando.
In his new role, Riddle will work closely with the new business team and with TV clients on the creative development of their projects, as well as overseeing the creative management of all London-led TV shows.
DNEG TV, which took home an Emmy last year for its work on HBO drama, ‘Chernobyl’, was formed in 2013.
The team has been working on many major new series releasing in the first half of 2020, including: Star Trek: Picard (CBS), Locke & Key (Netflix), Doctor Who Season 12 (BBC), Sacred Lies: The Singing Bones (Facebook Watch), Altered Carbon Season 2 (Netflix), Devs (Hulu), Westworld Season 3 (HBO), The Letter for the King (Netflix) and Defending Jacob (Apple TV+).
Managing director of DNEG TV, Matt Plummer, said: “Paul has been an integral member of DNEG since its earliest days, and we’re delighted to have him join the TV team. With the increased number of broadcast and streaming services producing high-quality television shows, the demand for first-rate VFX services has never been higher, and Paul’s experience and creative oversight will be invaluable.”
Speaking about the move, Paul said: “This is such an exciting time for DNEG TV. The landscape has changed dramatically over the last few years and I’m incredibly honoured and excited to be working with our fantastic TV team on the upcoming creative projects, finding new ways of pushing the boundaries of what’s possible for episodic content.”
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