ABOUT
Brad Kalinoski brings an impressive legacy that started in 1996 to the dynamic world of professional VFX. Throughout his career, he's worn many hats – from being the Head of Studio at FUSE FX ATL and SPIN VFX ATL to on-set VFX supervision, Roto, Paint, Matte Painting, FX, Restorations, Senior Compositing, and Compositing Supervision.
In his journey, Brad has made significant waves at VFX giants like ILM, DD, CRAFTYAPES, FUSEFX, SPIN VFX, and even some now-defunct legends like LOOKFX, EFILM, RAINMAKER, among others.
His knack for finding the sweet spot between technical prowess and the delicate dance of understanding and maintaining the visions of producers, studios, and directors is truly something to marvel at.
But it's not just about the technical wizardry – Brad's wealth of experience highlights a collaborative spirit. He seamlessly connects with clients and artists across all departments, turning each project into a symphony of creativity.
In a nutshell, Brad Kalinoski isn't just a seasoned professional; he's a visual effects virtuoso who navigates the industry's intricacies with finesse, efficiency, and a strategic outlook. His track record speaks volumes about his knack for not just contributing but significantly enhancing the success of projects, aligning them seamlessly with the creative visions of key stakeholders.
Cheers to Brad's expertise making waves in the world of visual effects! 🚀✨
WHERE IT STARTED
MY FIRST JOB
PACIFIC TITLE MIRAGE HOLLYWOOD CA
FACIAL MOCAP DEVELOPMENT
The Jester - 1998
FACIAL MOCAP DEVELOPMENT 1998-2000
"I was involved in the development of LIFE FX, a facial motion capture technology later used in films like Spider-Man and others."
Young at hear - 2000
FACIAL MOCAP DEVELOPMENT 1998-2000
"Two years later the progress was pretty impressive. We made great strides in what we were able to do."
The development of this facial motion capture technology was spearheaded by the originators, Mark Sagar and Paul Charette, both affiliated with MIT. They led a small team that contributed to the creation of white papers and the development of the facial motion capture system, which would later be utilized in numerous films and played a key role in the advancement of motion capture software at the time.
The initial concept aimed to make the facial motion capture system viable for an upcoming Warner Brothers film. However, the project was ultimately shelved due to cost concerns. At the time, Silicon Graphics Inc. (SGI) was the industry standard for production workstations, with entry-level systems priced at $50,000 and render farms costing millions. These staggering costs, coupled with the per-second expense of production, made such projects prohibitively expensive.