Veteran creative director/VFX supervisor/Flame artist Simon Mowbray has joined Zoic Studios, a visual effects house which maintains studios in Culver City and Vancouver, B.C. Mowbray comes over to Zoic from Pixomondo where he served as a creative director.
Bringing 25 years of VFX experience to his new roost, Mowbray has to his credit spots for such brands as BMW, Target, Nike, Microsoft and Volkswagen as well as music videos for Kanye West, DMX, Missy Elliot and Rihanna, among other artists. His work has garnered assorted awards over the years, including a 2008 PromaxBDA Award in Digital Effects for his work on the spot “GMC Yukon–Dot Matrix” as well as several International Monitor Awards.
Mowbray began his visual effects career in 1987, working at a number of top visual effects shops in Sydney amid the emerging years of CG and compositing. In 1991, he moved to Montreal where he worked as a product specialist for Softimage. From there, he helped found Discreet Logic in 1992, where he served as a creative director. Two years later, he began as an effects artist at Western Images/Good Pictures, remaining there until opening Radium in 1996 with Jonathan Keeton. The duo sold the boutique design and visual effects company to Reel FX in 2007.
While at Radium, Mowbray contributed as creative director to hundreds of film, music video and commercial projects including several MTV Award-nominated music videos. In 2007, he moved over to Ntropic where he worked as creative director/VFX supervisor before heading to Pixomondo in 2011 as creative director where he developed and executed concepts for commercial projects.
Review: Writer-Director Andrea Arnold’s “Bird”
"Is it too real for ya?" blares in the background of Andrea Arnold's latest film, "Bird," a 12-year-old Bailey (Nykiya Adams) rides with her shirtless, tattoo-covered dad, Bug (Barry Keoghan), on his electric scooter past scenes of poverty in working-class Kent.
The song's question — courtesy of the Irish post-punk band Fontains D.C. — is an acute one for "Bird." Arnold's films ( "American Honey," "Fish Tank") are rigorous in their gritty naturalism. Her fiction films — this is her first in eight years — tend toward bleak, hand-held verité in rough-and-tumble real-world locations. Her last film, "Cow," documented a mother cow separated from her calf on a dairy farm.
Arnold specializes in capturing souls, human and otherwise, in soulless environments. A dream of something more is tantalizing just out of reach. In "American Honey," peace comes to Star (Sasha Lane) only when she submerges underwater.
In "Bird," though, this sense of otherworldly possibility is made flesh, or at least feathery. After a confusing night, Bailey awakens in a field where she encounters a strange figure in a skirt ( Franz Rogowski ) who arrives, like Mary Poppins, with a gust a wind. His name, he says, is Bird. He has a soft sweetness that doesn't otherwise exist in Bailey's hardscrabble and chaotic life.
She's skeptical of him at first, but he keeps lurking about, hovering gull-like on rooftops. He cranes his neck now and again like he's watching out for Bailey. And he does watch out for her, helping Bailey through a hard coming of age: the abusive boyfriend (James Nelson-Joyce) of her mother (Jasmine Jobson); her half brother (Jason Buda) slipping into vigilante violence; her father marrying a new girlfriend.
The introduction of surrealism has... Read More