Andrea Matamoros is an Asset & Modeling Supervisor at Sony Pictures Imageworks, most recently completing work on the Academy Award®-winning feature KPop Demon Hunters for Netflix and Sony Pictures Animation.

Andrea has been at Imageworks for a decade, and her credits include: Over the Moon, The Mitchells vs. The Machines, and Spider-Man: Across the Spider-Verse.

She started her career in the video game industry as a 3D artist working on titles such as Plants vs. Zombies: Garden Warfare 2.

Brian Sepanzyk is a Visual Effects Producer at Image Engine with nearly two decades of experience in film production. Most recently, he served as VFX Producer on Keeper, guiding the film’s creature-driven visual effects from early collaboration through final delivery, balancing creative ambition with schedule, scope, and resources.

Since beginning his career in 2007, Brian has worked across both on-set production and visual effects, giving him a well-rounded perspective on how to align director vision, client needs, and production realities. Known for his calm leadership and meticulous organization, he plays a key role in supporting successful project delivery.

Earlier in his career, Brian worked in various roles before moving into an Assistant Director position, which landed him on set with Paramount Pictures during the production of Mission Impossible: Ghost Protocol in Prague, Dubai, and Vancouver. Other notable on-set projects include Christopher Nolan’s Inception, Gareth Edwards’ Godzilla, and Zack Snyder’s Man of Steel.

Edward Douglas is an independent visual effects supervisor and producer known for his work on atmospheric, story-driven genre films. He recently served as VFX Supervisor on Keeper, collaborating closely with director Osgood Perkins to develop the film’s unsettling creature work and visual tone.

Ed has also supervised on Osgood Perkins’s films Longlegs and The Monkey, helping blend practical techniques with digital visual effects to support performance and atmosphere.

Based in Vancouver and working internationally, Ed’s career spans film, games, and interactive media, with credits including Mass Effect 2 and Need for Speed. He also serves as Vice-Chair of the Visual Effects Society Vancouver Section, helping support and connect the local VFX community.

Ed is known for his collaborative approach and his focus on visual effects that strengthen story, character, and emotional impact.

Gianluca Pizzaia is a CG Supervisor with nearly 15 years of experience in the visual effects industry. With a vast technical background, Gianluca’s experience is strong in environments building, building new tools, managing large amounts of data and creating ingest pipelines. Most recently, he was the CG Supervisor for 20th Century’s third installment of the Avatar franchise, Fire & Ash, where he was able to show off these skills. Gianluca cites his time on Avatar: Fire & Ash as a highlight of his career. He was involved early on in development, working with James Cameron’s company, Lightstorm. Together, he helped create a pipeline to ingest the client data since it was the first time another company was working on Na’vi characters in the Avatar universe. For his contributions on the environment work of the show, Gianluca earned a VES Award for Outstanding Environments on a Photoreal feature.

In addition, Gianluca has worked on numerous other high-profile projects such as Lucasfilm’s critically acclaimed series, Andor, Dune: Part One, Jurassic World: Fallen Kingdom, Pirates of the Caribbean: Dead Men Tell No Tales, just to name a few.

With his passion for team collaboration, he is always eager to be a part of something that offers audiences excitement and inspiration while pushing technology forward.

Jacky Priddle is a Co-Producer at Sony Pictures Imageworks, most recently working on the Academy Award®-winning KPop Demon Hunters for Sony Pictures Animation and Netflix.

Previously, Priddle served as Digital Producer on The Sea Beast, Vivo, Spider-Man: Far From Home, Smallfoot, and Spider-Man: Homecoming. Prior to Imageworks, she served as a TV Series Development Producer at Rovio (Angry Birds) in Espoo, Finland and a Producer at Anima Boutique Oy in Helsinki, Finland.

Priddle spent almost 15 years at Aardman Animations and her credits include: Producer on So You Want to Be a Pirate, RP Production Manager on Peter Lord’s Pirates in an Adventure With Scientists, Marketing Production Manager on Shaun the Sheep the Movie, Assistant Producer on Chicken Run, Producer on Angry Kid TV special (winner of the British Animation Award), Producer on the Angry Kid animated series, and Commercials and short films Producer.

Priddle graduated from Christ Church College, University of Kent, Canterbury, England, with a Bachelor’s with Honours degree in English Literature and Radio, Film & Television Studies.

Jami Gigot is a Texture Supervisor at Industrial Light & Magic with over 20 years of visual effects experience and has led and guided teams of talented artists on multiple fast-paced productions. Her expertise is in digital texture painting for several tentpole features, episodics, and animated features, specializing in a large variety of assets such as creatures, digi-doubles, vehicles, props, and environments. Recent work includes texturing the hero digital double Ares for 20th Century’s Tron: Ares, creating the digital sets and icy environments in the northern water city of Agna Qel’a in the Netflix series Avatar: The Last Air Bender, based on the beloved animated series, and recreating key assets for the city of Hawkins is in the “upside down” for the final season of Netflix’s most popular show, Stranger Things. Gigot is also a member of the Visual Effects Society and a published children’s author.

Jenn Taylor is a visual effects supervisor at Image Engine with over 20 years of experience, specializing in creature and character animation. Beginning her career as an animator, Jenn has developed a reputation for crafting performance-driven, complex creature work that supports story, emotion, and physical believability.

At Image Engine, Jenn has led visual effects supervision and creature animation across major projects, including Keeper, Halo season 2, and Foundation season 2.

Jenn’s expertise in creature animation is highlighted by her lead animation on the iconic “Loot Train Attack” sequence in Game of Thrones season 7, which earned a VES Award for Outstanding Animated Character, and her HPA Award nomination for work on Lost in Space season 2.

Throughout multiple roles, Jenn has contributed to projects such as The School for Good and Evil, The Old Guard, The Twilight Zone, Carnival Row, Game of Thrones, Logan, Fantastic Beasts and Where to Find Them, Kingsglaive: Final Fantasy XV, Jurassic World, Chappie, Teenage Mutant Ninja Turtles, and more. Her work continues to focus on grounded, performance-driven visual storytelling and designing creatures that feel physically expressive, believable, and emotionally meaningful.

Josée Chapdelaine started in the VFX industry a bit later than most. Though she began her academic career in French Literature, she went back to get a Bachelor’s in Interior Design and discovered a passion for 3D software in creating interior renderings. After graduation, she went right back to school to get a Bachelor’s in 3D Animation, then promptly got hired by Oblique FX in Montreal, where she was mainly doing FX and rigging. With the studio being small, she ended up touching a bit of everything, and after 5 years there, she got a job at Rodeo FX, first as a CFX artist, then as a CFX lead, then as a CG Supervisor. Since the beginning of 2021, she’s been back on the CFX side as Head of the Creature FX Department and loving every minute of it.

Marc-Antoine Paquin is a Generalist TD at Rodeo FX, where he’s been developing tools and enabling artists to create mind-blowing images for projects like House of the Dragon, IT: Welcome to Derry and Dune. His skills have allowed him to master the VFX pipeline, especially Houdini and USD.

Matthew Hanger is an experienced Effects Supervisor with 14 years in the visual effects industry. He is best known for his ability to oversee complex VFX projects and manage global teams. Since joining Industrial Light & Magic in 2020, Hanger has showcased his knack for procedural system design and building scalable FX setups for fire, water, and destruction. This is exemplified in his work on Marvel’s Loki and Black Panther: Wakanda Forever and Universal’s Twisters. As the Effects Supervisor for Twisters, Hanger led a team to create photorealistic, large-scale tornadoes and additional weather simulations. As a result, he earned a VES Award nomination for Outstanding Simulation in a Photoreal Feature. For 2022’s Black Panther: Wakanda Forever, he was integral in supervising the complex city street flooding sequence. This work required a high level of technical precision, utilizing FLIP simulation to create photorealistic water effects that blended seamlessly with live-action plates. This sequence, which served as the film’s emotional and action-heavy climax, demanded a delicate balance between chaotic visual spectacle and the narrative weight of the scene. Due to his contributions, Hanger earned a VES Award Nomination for Outstanding Effects in a Photoreal Feature.

Russell Bowen is an Oscar-nominated VFX Supervisor at beloFX. He most recently served as Production VFX Supervisor on Lee Cronin’s The Mummy — set to hit theatres next month.

Before this, he supervised beloFX’ work on Apple TV+’s The Lost Bus, earning both Oscar and VES Award nominations. Russell’s other recent credits include the Star Wars Original series, The Acolyte and the upcoming A24 film, Mother Mary.

Before joining beloFX in 2022, Russell spent 14 years at DNEG, rising through the creative ranks to supervise major projects such as Shazam! Fury of the Gods and The New Mutants. Combining deep technical expertise with hands-on, on-set experience, Russell is known for his collaborative approach and commitment to high-quality, story-driven visual effects.