As Compositing Supervisor, helping lead a team of 7 other compositors required overseeing all of GKR’s comps for the show with CG Supervisor John Vegher. Very late in the production GKR was awarded work on adding a maw to the main antagonist from the film. The shots came about because Guillermo Del Toro saw an early cut of the film and suggested to David Goyer adding a maw to the antagonist would significantly improve the character. Even though this came about incredibly late in the editing stage, the studio scrounged up the cash and GKR provided a fully CG head replacement for the effect.
Blade: Trinity, I co-supervised GKR's plate photography with Tobin Jones in Vancouver, British Columbia. The shoot entailed a series of shots during the final battle sequence including 166_09. A shot that I later spend 6 months compositing. My first experience supervising a shoot came during the week of re-shoots for the film. Joe Bauer, the Visual Effects Supervisor for New Line, was unavailable to make the two days of shooting, and had me oversee a short VFX sequence in his absence.