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Tim is currently busy creating magic with Walt Disney Imagineering.
Tim was a key figure in the creation of the Finding Nemo Submarine Voyage attraction in Disneyland, working closely with Pixar and the show team to ensure that all the projection effects live up to the magical Disney standards. With the show team, he helped to develop new ways of presenting projected images. Tim also did much of the effects animation in the Submarine attraction such as the erupting volcano and lava effects. This was the third and most elaborate of the Finding Nemo attractions Tim has contributed to. The others are in Florida's Epcot and in Disney Studios Paris.
Also, Tim recently did the five new paintings for the attic scene upgrade in the Haunted Mansion, and new effects for Disneyland's Pirates of the Caribbean including the Davy Jones waterfall and other scenic enhancements.Check out Johnny Depp's review of Tim's Work
Additionally he has contributed to DCA's Monsters Inc. ride, the Mexico and Canada pavilions in Epcot and many others.
In his spare time he contributed seven matte painting shots to recent horror pic Pulse.
Tim composited dozens of shots for Sky Captain and the World of Tomorrow, twenty shots for Scooby Too, worked on several scenes for Spiderman 2, did visual development on a Robert Towne film called Ask the Dust, elaborate testing for a Disney superhero film as well as several Theme Park projects. He did a location shoot for General Hospital, a title sequence for TV drama Boston Public, and on-set plate supervision for feature films Cellular and Blade III.
In addition Tim was recently elected to the Board of Directors of the Visual Effects Society.
Tim was delighted to be asked to function as a facility's VFX supervisor for a number of scenes from 2003's summer blockbuster "Pirates of the Caribbean". Working with Oscar™ winner Charlie Gibson, part of the task involved chasing pesky bits of the twenty first century out of the path of the on-screen bucklers of swash. (Sometimes Tim wishes he could do the same for the real world.)
Tim & company dusted off their briefs and rode to the rescue to deliver several tricky scenes for this MGM summer hit. Okay so she's pretty in pink. Just don't mess with her chihuahua named "Bruiser".
In Summer 2002 Tim got the call to take over the visual effects for this troubled production which is based on a comic book. Walking in to a studio that was a shambles, Tim re-assembled his "SWAT team" from Dream Quest and Disney and, working with veteran VFX supervisor John Sullivan, delivered 508 visual effects shots for this MGM spring 2003 release. He also ended up doing uncredited 2nd Unit photography for the film's finale.
Recently Tim had the pleasure of working with legendary Director of Photography Peter Anderson and pal Tim Sassoon on a Stereoscopic Theme Park project called "Sesame Street 4D". Unfortunately during the shoot Tim had cookies on his breath and things started to get ugly.
Tim and his crew provided over 80 visual effects scenes for Disney's "Snow Dogs" released January 18, 2002. Consistantly in the top 10, it was the number one U.S. boxoffice earner on two different dates. Challenges included freezing their tail feathers off in the Canadian Rockies in the dead of winter, making dogs talk on the beach in Miami, dodging a 1500 pound bear, and wrangling a real 737 to do what they needed it to do. ("Um...sorry...you missed your mark. You're gonna have to take off and fly around the field once more please.")
This 70mm film for a Disney Studios Paris attraction stars Martin Short as an everyman who finds himself in the magical world of classic films such as "Star Wars", "Titanic", and "The Wizard of Oz". In a loving tribute to the icons of cinema, we composited Mr. Short with the likes of Harold Lloyd as he hangs from that clock in "Safety Last" and sent him down the yellow brick road with Julie Delpy, his co-star. Emphasis was always to pay ultimate respect to the historic films we have been honored to be involved with. We even went to the effort of tracking down and re-photographing the original matte painting of the Emerald City from "The Wizard of Oz" in order to properly re-create that classic moment in the digital era.
Much of the effort in Cinemagique was devoted to restoring and sprucing up the classic clips so that they look their absolute best on that vast, unforgiving 70mm screen.
The advantages of working within the Disney organization became evident as we sought to deal with clips from "Pinocchio." We had the luxury of tracking down the precise paint colors used in specific sequences so that we could ensure that what we put on the screen was what Walt and his artists originally intended. (We also discovered in the process that the telecine artists who transferred "Pinocchio" to video didn't quite get it right.)
Word from the park is that the show is getting standing ovations. See for yourself.
All in all, Cinemagique was a fun project that served as a fond farewell to the Disney organization.
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