Our Team

Alain, a distinguished figure in the film industry, has been instrumental in several iconic cinematic projects. His involvement spans from blockbuster Marvel and DC franchises like X-Men, The Suicide Squad, and The Batman to critically acclaimed films such as Gravity and The Revenant. With a career that originated as a child actor in France, Alain brings a wealth of film experience to his role as Scanline’s Executive Producer. He specializes in overseeing large-scale international productions and has contributed to Netflix’s prestigious Brazilian mini-series, Senna.

Julie joined Scanline VFX in 2011, bringing over a decade of senior management experience in the film industry. As the Senior VFX Producer, she has been instrumental in the success of DC Films’ franchises, including Batman vs Superman, Justice League, Aquaman, and The Flash as well as Godzilla vs Kong . Julie excels in the creative process, collaborating closely with Supervisors and artists from conceptualization to final delivery. Her hands-on approach is reflected in her work on each project as she is dedicated to supporting the client’s vision and facilitating the VFX team’s technical and creative execution. 

Lauren brings over 20 years of Animation and Visual Effects expertise across commercials, film, and television. She has contributed to acclaimed animated features with Blue Sky Studios and Pixar, as well as high-profile VFX projects for Marvel, Amazon, Netflix, and Apple among others. Her notable achievements include Emmy and VES nominations for her work on Mr. Robot. Beginning her career as an illustrator and animator, Lauren’s keen artistic eye fosters a creative shorthand with both supervisors and clients, enhancing collaboration, and supporting a successful and innovative process.

Leslie  has years of experience producing a wide variety of projects, including the award-winning virtual reality experience Carne y Arena and the Oscar-nominated and VES-winning Deepwater Horizon.  Leslie has also brought her passion to and excelled at producing both live action and visual effects for renowned brands such as Nike, Apple, Adobe, Sony and many others.  Ask Leslie her raison d’être and she will tell you it’s the daunting “what ifs,” the unexpected collaborations, and the inspiring grit of every person to get a project over the finish line. 

With over two decades of hands-on expertise in post-production and visual effects, Michel has been a valuable asset to Scanline since 2004. His experience ranges from small German TV projects to international blockbusters. Managing diverse teams and clients on over 80 feature films, Michel is skilled at anticipating and preventing pitfalls while inspiring his teams to achieve a new standard of excellence.

Perry oversees a wide range of productions at the studio, working closely with research and development to bring cutting edge capabilities to studios and filmmakers alike. As a producer and former head of studio at a global VFX company for over a decade, Perry brings a strong track record of managing complex and challenging projects. Perry joined Eyeline in 2020 and has been instrumental in developing the studio’s strategic  production capabilities while working closely with filmmakers to determine which of Eyeline’s proprietary solutions best suit their projects. As an Executive Producer, he contributed to acclaimed projects like the Oscar-winning Hugo, The Curious Case of Benjamin Button, and the Emmy-winning Star Trek: Discovery. Perry is also a Golden Horse Award winner for his work on the Wong Kar-Wai-feature See You Tomorrow.

With over 20 years of experience in the Korean and global markets, Shin was one of the Eyeline Studios first members in its Seoul facility. As Head of Production she was instrumental in shaping the Seoul production team from its inception. Prior to that, she worked extensively as VFX Producer on such popular franchises as Thor, Aquaman and Avengers and Netflix’s live-adaptation of the Japanese manga, Yu Yu Hakusho. Shin is fluent in Korean and English.

Hong’s focus is on developing Eyeline’s Korean studio into a hub of creativity and innovation. His efforts include attracting top-tier talent and fostering strategic partnerships, notably with the Netflix Korea team, aimed at cultivating the next generation of VFX professionals in the region. He initially joined Scanline’s Vancouver office as a senior compositor over a decade ago, and in 2019, played a pivotal role in the expansion of Scanline’s Seoul branch, collaborating closely with local authorities to secure grant agreements crucial to the studio’s establishment in Seoul.

Adam began his career as a compositor at VFX houses such as Rhythm & Hues, MPC, and ILM. He joined Scanline over a decade ago as a Compositing Supervisor, advancing to VFX Supervisor and demonstrating his versatility across genres, including superheroes (The Flash), creatures (Meg 2: The Trench), and fantasy (Avatar: The Last Airbender). His work on the supernatural series Shadow & Bone earned him his first Emmy nomination.

Two-time VES Award winner Bryan has over 30 years of VFX experience, often taking on high-ranking posts of overall supervision (Beverly Hills Cop: Axel F) and on-set second unit work (The Gray Man). A three-time Academy Award nominee (Free Guy, Captain America: The Winter Soldier, Hereafter) and double BAFTA nominee (Iron Man 3, Free Guy), Bryan is a respected figure in the industry. He is an active member of the Academy of Motion Picture Arts and Sciences and a former Executive Board Member of the Visual Effects Society.

As a Visual Effects Supervisor, Bryan has made significant contributions to some of the most iconic films in pop culture franchises, including blockbuster hits The Matrix Reloaded, Pirates of the Caribbean: Dead Man’s Chest and Godzilla vs. Kong.  Bryan is known for his meticulous work on complex projects, such as overseeing 1000 shots for Justice League and spending months on location for on-set supervision, including 300: Rise of an Empire. He has also successfully supervised second unit photography on Batman v Superman: Dawn of Justice while also providing leadership to projects like Poseidon and Snow White and the Huntsman, both of which earned Oscar nominations for Best Visual Effects. Bryan is an active member of the Academy of Motion Pictures Arts and Sciences.

Sue is a seasoned visual effects supervisor with over 25 years of industry experience, contributing to such films as The Hitchhiker’s Guide to the Galaxy, Charlie and the Chocolate Factory, and The Golden Compass, the latter which earned a Best VFX Oscar. Her unique blend of traditional artistic talent and deep industry knowledge allows Sue to excel across all aspects of VFX production from storyboard to previz to on-set shoots to final pixel. Sue has served as a client VFX supervisor for films like (John Carter and The Maze Runner, and as an on-set supervisor for productions like The Adam Project and Shadow and Bone. Her leadership extends across top VFX companies including Sony Pictures Imageworks, MPC, Cinesite and more. An Emmy-nominated professional for her work on HBO’s Into the Storm, Sue is also an active co-chair of the Vancouver Section of the VES, and holds memberships in both The Academy of Motion Picture Arts and Sciences and the British Academy of Film and Television Arts.

Curtis is an experienced visual effects artist with over 15 years in the industry and a portfolio spanning more than 40 projects. Starting his career as a compositor at renowned facilities like Sony Pictures Imageworks, ILM, MPC, and Bad Robot, Curtis has contributed to iconic pop culture franchises including Star Wars, Star Trek, Spider-Man, and Zack Snyder’s Justice League. Since joining Scanline in 2016, Curtis has taken on key leadership roles, most recently serving as Visual Effects Supervisor for DC Films’ The Flash. His extensive expertise and creative vision have made him a pivotal force in shaping some of the most visually dynamic films of the past decade.

Craig is a seasoned professional, now in his 30th year in the visual effects industry, skilled in live action filming, on-set supervision, 3D CGI, compositing, and pipeline development. With extensive experience at Weta Digital, DreamWorks Animation, Sony Pictures Imageworks, and Method Studios, Craig has contributed to iconic films like The Lord of the Rings series, Men in Black 3, Extraction, and Edge of Tomorrow, the latter two earning him VES nominations. Craig is also recognized for pioneering the use of Unreal Engine while at Zoic Studios for the TV series Superman & Lois and For All Mankind.

Dann is a VFX industry veteran with over 30 years of experience. He has held various senior and supervisory roles at top visual effects studios, contributing to projects such as “Into The Woods”, “The Finest Hours”, and “The Greatest Showman.” Since joining Scanline in 2019, Tarmy has worked on notable productions, including “Nyad”, “Godzilla vs. Kong”, and “Don’t Look Up.” His expertise and dedication have solidified his reputation as a leading Visual Effects Supervisor in the industry.

Derek Spears is a seasoned Visual Effects Supervisor, earning three Emmys, two HPAs and a VES award for his work on the iconic Game of Thrones series.
His recent credits include Black Adam, Don’t Look Up and Atlas, the latter two of which he also served as on-set supervisor. In his early career, Derek helped establish Cinesite’s 3D department and contributed to the Academy Award®-recognized Cineon compositing system. He is a member of both the Motion Picture and Television Academies, and previously served as a Governor for the latter.

Ryo Sakaguchi brings over 20 years of industry expertise with the last decade spent at Scanline in numerous roles from CG Supervisor to VFX Supervisor. As one of the Directors of CG, he played a pivotal role in establishing company workflows and mentoring leads and supervisors. He recently served as the Production VFX Supervisor on Netflix’s live action adaptation of Yu Yu Hakusho, receiving an Asian Content Award nomination for Best VFX. Ryo was a core contributor to the development of multiple Sci-Tech award-winning fx pipelines, and was recognized with a Scientific and Engineering Academy Award in 2008 for the development of a fluid simulation workflow during his time at Digital Domain. Ryo is a member of the Academy of Motion Picture Arts and Sciences.

Harry has been creating visual effects for over 30 years, excelling in both the Hollywood and Asian film industries, spending two decades at Rhythm and Hues, and a nearly decade in China at Base FX and Pixomondo before arriving at Scanline. Harry’s extensive body of work includes franchises such as Aquaman and Harry Potter and Sorcerer’s Stone, intimate projects like Martin Scorsese’s Silence, and the Chinese blockbuster The Wandering Earth and the Fengshen Trilogy. His innovative work, including the development of a unique mesh warper for Snow White and the Huntsman, contributed to that film’s visual effects Oscar nomination. Harry is based in South Korea and is a member of the VFX branch of the Academy of Motion Picture Arts and Sciences.

Jan is renowned for his technical expertise and artistic vision, with over 85 credited projects to his name. His recent supervision work includes Apple TV+’s The Foundation, DC Films’ The Flash, and the vampire thriller Blood Red Sky, Netflix’s most successful German title. In addition to his VFX supervision duties, Jan plays a key role in Scanline’s internal software and pipeline development in Munich. He won an FMX award for his work on Vaterfreuden and contributed his talents to The Colony (Tides), which won the German Lola in 2021 for Best Visual Effects.

With nearly 20 years of VFX experience, Jay Mehta has worked as a Supervisor across India, Malaysia, and China, contributing to Academy award-winning films such as Life of Pi and The Golden Compass. His credits span Hollywood, Bollywood, and Chinese cinema, including on-set supervision for China’s Fengshen Trilogy and as a client-side supervisor for numerous Netflix India Originals. An active member of the Visual Effects Society, Jay is also a VES and HPA nominee for Agent Carter – Season One.

Joel has played a pivotal role in three Best VFX Oscar-winning films: Dune Part One, Blade Runner 2049, and First Man, receiving VES nominations for the latter two. Joel’s expertise spans across top-tier studios like DNEG and ILM. With extensive experience working on-set and in post at all stages of production including virtual production, this Australian native has contributed to major projects such as The Mandalorian, Senna, Shazam! Fury of the Gods, Zack Snyder’s Justice League and Yu Yu Hakusho, earning his recognition as a skilled professional in the VFX industry.

Over the past four decades, DJ has built a body of work encompassing over thirty-five feature films such as The Matrix Reloaded & Revolutions, Fantastic Four (2005) and The Kingdom. In 2005, he embarked on a long run of cutting-edge Zack Snyder films including Watchmen, Sucker Punch, Man of Steel; 300: Rise of an Empire and Batman v Superman, Zack Snyder’s Justice League and Rebel Moon Part 1. DJ’s expertise in blending the muti-faceted disciplines of filmmaking with cutting-edge digital technology has helped the industry redefine visual storytelling, earning him a Saturn Award and membership to the Academy of Motion Picture Arts and Sciences. His passion for pushing the boundaries of visual effects continues to inspire a new generation of artists.

Julian recently served as Scanline’s Co-Visual Effects Supervisor on DC Films’ Aquaman and the Lost Kingdom. He previously spent ten years at DNEG, where he won a VES award for his work on Last Night in Soho and was additionally nominated for Jason Bourne and Sweeney Todd. Julian has consistently demonstrated his ability to lead visual effects teams and deliver stunning results on complex, visually demanding productions, including No Time to Die, Venom, and the Academy Award® winning Inception.

Julius is a seasoned Visual Effects Supervisor at Scanline, instrumental in delivering compelling visual storytelling on blockbuster movies like The Batman, Spider-Man: Far From Home, Zack Snyder’s Justice League and Aquaman and the Lost Kingdom. With a solid track record as a CG and Effects Supervisor, Julius has also authored the thesis papers Animating Hair and Fur, and GPU-Based Visual Effects. His experience includes stints at ILM and Pixomondo, where he worked on high-profile IPs such as Power Rangers, Teenage Mutant Ninja Turtles, and Star Trek Into Darkness.

Justin Mitchell has been with Scanline VFX since 2008 and has served as VFX Supervisor on such culturally impactful shows such as Netflix’s Stranger Things and Black Panther: Wakanda Forever. Over the years, Justin has applied his 3D and FX expertise to a wide array of films, including Captain America: The Winter Soldier and Hereafter for director Clint Eastwood, both of which earned Academy Award nominations for visual effects achievement. On the Netflix comedy The Wrong Missy, Justin was sole VFX Supervisor, joining 1st unit in Hawaii for principal photography, as well as additional 2nd/splinter unit drone photography. He is a double Emmy nominee for The Nevers and Bury My Heart at Wounded Knee, the latter which earned Justin a VES Win. He is also the recipient of a Sports Emmy Award and holds membership with both the VES and the Television Academy.

Micah has been a cornerstone of the Scanline VFX team since 2014. As Scanline’s VFX Supervisor on Beverly Hills Cop: Axel F, his expertise helped the film achieve phenomenal success, debuting at No. 1 on Netflix. Micah’s significant contributions to The Gray Man and the VFX Oscar-nominated Guardians of the Galaxy Vol. 2, Shang-Chi and the Legend of the Ten Rings, and Free Guy highlight his creativity and proficiency. With a background in stop-motion animation, Micah wrote, directed and animated the short film Machinehead, which won numerous festival awards around the globe.

Mat is a double VES nominee with two decades of VFX experience, currently serving as Head of Creative at Scanline’s Montreal studio. With a strong background in compositing and VFX supervision, Mat also plays pivotal roles in creative and bidding strategies. His award winning work on Todd Phillips’ The Joker led to his return for Joker 2: Folie a Deux, this time with Scanline as the sole VFX vendor. Mat is also the client side VFX Supervisor for Netflix’s upcoming Fear Street horror film franchise, Prom Queen. Other notable projects include the Emmy nominated 3 Body Problem, The Suicide Squad and Black Widow.

Natalia has led VFX teams across multiple disciplines, from Compositing to DFX to overall VFX supervision. A Critics Choice VFX nominee for Tron: Legacy and a Silver Ariel Award winner for El Mas Buscado, she has worked on both blockbuster franchises like Deadpool and intimate films like Her. Throughout her career, she has collaborated with visionary director David Fincher on six projects, solidifying her reputation as a trusted creative partner in the industry.

Nhat is a member of the Television Academy and has earned three Emmy® nominations for Best Outstanding Visual Effects for Westworld Seasons 2 and 3, and The Orville. Since 2021 Nhat has been contributing to the development of volume capture and next-generation technologies at Eyeline Studios with projects such as The Flash and Avatar: The Last Airbender. He has a strong track record in developing solutions for planning and executing unordinary VFX such as the spinning room in Euphoria’s pilot episode, the Bjarke Ingels-inspired futuristic Los Angeles in Westworld, and the longest space battle in TV history for The Orville.

Falk is a seasoned Visual Effects Supervisor with over 20 years of industry experience. He recently led Scanline’s work on the German TV mini-series Blackout, earning a German Television Academy Award. Passionate about blending real and imaginary elements, Falk supervised VFX on films like Netflix’s Blood Red Sky, Lionsgate Films’ The Crow and Warner Bros.’ Rheingold. With a plethora of international experience, Falk has worked as an on-set supervisor in 26 different counties and winning an Ariel Award – Mexico’s equivalent of an Academy Award – for Best VFX for his work on the Mexican drama Vera.

Sebastian Becker brings over a decade of experience in the visual effects industry including supervision in VFX, digital effects and CG.  He joined Scanline’s London studio as the Visual Effects Supervisor for Meg 2: The Trench, leading the EU team on over 300 shots of complex creature and water effects. He recently wrapped supervision on Tyler Perry’s historical feature The Six Triple Eight. With extensive work at renowned studios such as DNEG and MPC, Sebastian has contributed to acclaimed projects including Interstellar, Avengers: Endgame, and The Matrix Resurrections.

Boris is a highly experienced visual effects supervisor with over 20 years in the industry. Starting in Germany at Pixomondo, he played a crucial role in the global expansion of the VFX company through his design of key pipelines and toolsets. His impressive list of credits includes work on notable projects such as “Sucker Punch,” “Fast & Furious 6,” “Furious 7,” “The Amazing Spider-Man,” “Red Tails,” and “Raised by Wolves.” In 2021, Boris joined Scanline VFX as an additional VFX Supervisor on “The Adam Project” for Netflix, and has since worked on projects such as the Emmy-nominated “Avatar: The Last Airbender” and “3 Body Problem.”