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Lindsay
Fleay |
| Nationality |
Australian |
| Date
of Birth |
8th August, 1967 |
| Address |
11 Leith Court
GREENWOOD 6024 WA
Australia |
| Phone |
(618) 9447 8870 |
| Mobile |
0423 385 166 |
| Email |
lindsayfleay@iinet.net.au |
| Websites |
Homepage
IMDB entry |
| Career
Objective |
Rule the world. Well, maybe
some virtual ones at least. Push a few boundaries in 3D animation and
visual effects; explore that nebulous boundary between author and audience;
create those memorable experiences and find new ways to make great
ripping yarns, be they virtual or “old fashioned” stories.
Its more than just making stuff look real or keeping bored punters
vaguely entertained: its relating to other people ultimately. Magic
moments for them to carry with all their lives. |
| Personal
Interests |
3D animation, films, film
history, gaming, gaming history, comics, writing, reading good novels,
politics and the state of things in the world at large. Offroad mountain
biking, hiking and swimming. I've participated in the past with SCUBA
diving, indoor rock climbing and paintball skirmish. |
Downloadable CV
Teaser Showreel (33Mb)
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EDUCATION |
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1990 |
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Post
Graduate Diploma in Film & Television
Studied Animation
at Swinburne Institute of Technology. Made two very short student
films. |
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1985-1989 |
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Bachelor of Arts (English)
at Curtin University.
Majored in Film & Television, Minored in Language & Culture
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FILMS |
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1990 |
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NORT
A a 60 sec animation
exercise for the Swinburne animation post-grad, produced entirely on
an Amiga home computer, using simple layered artwork with some 3D animation.
32 colours at 320x256 resolution. The results were shot off the monitor
onto 16mm film with surprisingly okay results. |
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1990 |
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Ragweed
A 5 minute
16mm Swinburne student film using stop motion puppetry and found objects.
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1985-1990 |
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The
Magic Portal
Produced, directed, storyboarded, animated, shot, lit, and edited The Magic
Portal, a 16 minute, stop motion film using LEGO, cardboard and plasticene.
This was made outside of my studies at Curtin at the time, although the film
sourced materials and equipment from the institution. Funding was obtained
via the Australian Film Commission. Applications for funding, as well as
continuous financial and status reports were required as part of the production
process.
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EMPLOYMENT |
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2007- |
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INTERZONE
GAMES
World Designer and Senior
World Builder. Based in Perth, Interzone is
currently working on Interzone
Futebol, a football based Massive Multiplayer
Online (MMO) game. My role has involved some asset management,
designing of the social world spaces outside of the virtual soccer
games and a little 3D work. |
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2006 |
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Rising
Sun Pictures
Level 3 Animator. Worked at this Adelaide
based visual effects production house, working as a Character Animator
on Charlotte's
Web.
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1993-2006 |
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Animal
Logic
Senior 3D Animator at Animal Logic, a Sydney based visual effects production
house. Duties included everything from 3D modeling, animation, lighting,
rendering, tracking, compositing, and working closely with custom production
software and research and development. Highlights include
| 2003-2006 |
Happy
Feet
Senior Layout: this involved everything from intense asset
management through to pre-visualising, assembling, troubleshooting
and “pre-lensing” entire
scenes for interactive lensing with the Director, before preparing
finalized scenes with previz models and animation for final character
animation and production. |
| 2003 |
Great
Raid
Simple set extension to a colonial Spanish fort, occupied by the Japanese
Army in the Phillipines during the Second World War, |
| 2002 |
Garage
Days
Producing the 3D elements
for a drug induced hallucination scene with snake-necked parents,
blending live action plates with 3D models.
Hero
visual effects for a historical martial arts extravaganza. Animated,
lit and rendered an explosion of virtual caligraphy brushes in
a live-action scene as Jet Li demonstrates his “fast sword” technique.
Also participated on a number of other elements, such as splashes,
ripples, and carefully choreographed mid-air water droplets. |
| 2001 |
Lord
of the Rings
two shots producing a “glowing rainment” - a volumetric
3D element - for the character Arwen.
Moulin Rouge
A team effort involving modeling, texturing, lighting, tracking, a vast array
of 19th Century Parisian architecture and outdoor sets, executing a series of
over the top camera moves and angles, and being entirely responsible for the
luminous fairy wings on the Green Fairy played by Kylie Minogue. |
| 2000 |
2000
On the Beach (TV miniseries):
Modeled, lit and animated several kilometres of ruined, post nuclear Golden Gate
Bridge, complete with lines of wrecked cars and the (then) mindbogglingly real
water produced by the “Arete visual effects package. |
| 1998 |
The
Matrix
Built the central motif of the file, the streaming “Green
Code”, which describes the virtual world that dominates
the film; created an entire virtual scene where several characters
and the set are made of Green Code. Also participated on some
Agent transformation morphs. |
| 1993-1999 |
Advertising
A cacophony
of high end, cutting edge commercials and visual effects for
station
idents and corporate videos, too numerous to mention. Most of
these involved visual effects, set extensions, virtual environments
and sets, logos, diagrammatic testimonials (e.g. Toothbrushes
in a spotless virtual environment or artfully cartoonish car
crashes showing safety features), and the occasional character. |
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1993 |
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Walter
Club, The
Sole 3D animator at the Walter Club in Melbourne,
Australia, working mostly on retail and idents.
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1992 |
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Video
Paint Brush Company
Sole 3D animator at the Video Paint Brush Company in Melbourne, Australia,
working mostly on retail and mid-level commercials and idents.
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1991 |
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Starved
A variety of futile efforts to drum up work in the (non) animated desert
that was then Perth, Western Australia. After 10 months of pretty much
nothing, I nearly gave
up.
Then
the phone rang.
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1988-89 |
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Fox
Creative
Worked in odd jobs around this small hand drawn animation studio. Duties
included cel painting, a little drawing and design, and feeling somewhat
redundant. Helped set up the studio, only to start full time work for ten
minutes. Retrenched - twice - due to no funds.
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