Andy Fowler
Produção, Realização, Escrito por
Andy Fowler's career spans VFX and Production, Virtual Production and Creative Technologies. Starting out in graphic design for commercials and music videos in SoHo, London. he entered into features as a VFX Producer with the advent of digital workflows for film in 1997. After receiving an Emmy for HBO's 'The Life and Death of Peter Sellars' he moved onto projects such as '300' and 'Narnia: Prince Caspian'.
Heading to the U.S., Fowler spent a few years at Disney as a VFX executive working on content such as 'Tron Legacy' before leaving to join Darren Aronofsky's 'Noah' after which he became executive in charge of VFX over at New Regency on titles including as 'The Revenant' and 'Assassins Creed'.
Joining Netflix in 2016 as Director of VFX & Virtual Production He has built a global team from scratch servicing Netflix's content across Features and Series, while seeding new technology and workflows within virtual production and cloud platforms to help change the way in which content is created.
As Vice President of Production Innovation, his global team grew to incorporate Creative Technology, Technology Partnerships and Creative Algorithm (AI) Research. The remit of the Production Innovation team at Netflix was to enable content creators around the world to leverage the best Production, Post Production, VFX and Virtual Production (AR/VR) workflows and technology with an eye on the present and future.
Since leaving Netflix he has continued to consult on content creation across every production phase of both live action, animated and generative ai content.
Heading to the U.S., Fowler spent a few years at Disney as a VFX executive working on content such as 'Tron Legacy' before leaving to join Darren Aronofsky's 'Noah' after which he became executive in charge of VFX over at New Regency on titles including as 'The Revenant' and 'Assassins Creed'.
Joining Netflix in 2016 as Director of VFX & Virtual Production He has built a global team from scratch servicing Netflix's content across Features and Series, while seeding new technology and workflows within virtual production and cloud platforms to help change the way in which content is created.
As Vice President of Production Innovation, his global team grew to incorporate Creative Technology, Technology Partnerships and Creative Algorithm (AI) Research. The remit of the Production Innovation team at Netflix was to enable content creators around the world to leverage the best Production, Post Production, VFX and Virtual Production (AR/VR) workflows and technology with an eye on the present and future.
Since leaving Netflix he has continued to consult on content creation across every production phase of both live action, animated and generative ai content.
Filmografia
| 2017 | |
| 2016 | Amateur Night · as Co-ProducerNo Plex |
| 2019 | The Irishman · as Production Executive |
| 2016 | A Cure for Wellness · as Production Executive |
| 2016 | Assassin's Creed · as Production Executive |
| 2016 | Hell or High Water · as Visual Effects Producer |
| 2015 | The Revenant · as Production Executive |
| 2015 | San Andreas · as Visual Effects Producer |
| 2014 | Noah · as Visual Effects Producer |
| 2010 | Tron: Legacy · as Production Executive |
| 2010 | Secretariat · as Production Executive |
| 2008 | The Chronicles of Narnia: Prince Caspian · as Visual Effects Producer |
| 2007 | Underdog · as Visual Effects Producer |
| 2006 | 300 · as Visual Effects Producer |
| 2005 | The Hitchhiker's Guide to the Galaxy · as Visual Effects Producer |
| 2004 | The Life and Death of Peter Sellers · as Visual Effects Producer |
| 2003 | Lara Croft: Tomb Raider - The Cradle of Life · as Visual Effects Producer |
| 2002 | Pinocchio · as Visual Effects Producer |
| 2001 | Lara Croft: Tomb Raider · as Digital Effects Producer |
| 1999 | Virtual Sexuality · as Visual Effects Producer |
| 1998 | Lost in Space · as Visual Effects Producer |
| 1997 | Seven Years in Tibet · as Visual Effects Producer |