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James Rogers ︎ VFX Supervisor & Creative Director
LIFE
Feature Film
To be able to work with Anton Corbijn was a dream come true. In this story of James Dean and photographer Denis Stock, we did a lot of work to help recreate America in the 1950s, including incredibly detailed versions of Times Square, complete with cars, people, and flashing billboards, as well as numerous locations in Los Angeles and the mid-West. I was the production VFX Supervisor.
The Railway Man
Feature Film
This beautiful, moving film starring Nicole Kidman and Colin Firth spans decades, and required a mix of vastly different war-time environments as well as the re-creation of certain period correct train stations. Pretty much every trick in the book was used for this, including CG crowds, matte paintings, CG vehicles and trains, explosions, digital make-up and similar details. I was both the production VFX Supervisor and VFX cinematographer for this film.
Animatrix Final Flight of the Osiris
Feature Film
I can barely believe that this film is now over 20 years old... This was the first VFX Supervision credit I got. It is part of an omnibus of short films, known as the Animatrix. As you can probably guess, this film played a significant part in the Matrix movie series, filling the in-between details between movies one and two. Even the way the sentinels stab people in this short ended up being adopted by the Wachoskis for the feature films...
Backtrack
Feature Film
Starring Adrien Brody and Sam Neill, this brooding thriller used a lot of digital makeup, environment augmentation and CG vehicles, among other things. Mr Brody does a very serviceable Australian accent. I was production VFX Supervisor on this film.
Words with Gods
Feature Film
Warwick Thornton directed a moving short as part of this omnibus movie of a woman traditionally giving birth under a tree. I was the production VFX supervisor. 


Visual Effects Supervisor & Creative Director

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What I do

A visual effects supervisor is basically a visual problem solver. I try and recruit ideas from a variety of sources—new, old, borrowed or transposed from other disciplines and industries; curiosity drives me. But ultimately, I am an creative image-maker first and foremost.

I closely collaborate with others and keep a holistic view of the process—delivering creatively, on time, on budget. I excel at logistically complicated projects and team building.