CAREER STORIES
and I was intrigued by their in-house software, Nuke. I learned everything about what it meant to become a supervisor and also contributed to many tools inside Nuke, including creating the IBK keying system. After 13 years at DD, I wanted to have more time on-set and saw an opportunity in the newly opened DNEG Vancouver office, where I became the client-side supervisor. Then, I came back to LA and I’m now executive VFX supervisor at Wylie.” Lambert won the Academy Award for best achievement in visual effects in 2018 for his work on Blade Runner 2049 , going on to win the award again in 2019 for First Man and once more in 2022 for Dune . “ Blade Runner was a massive IT’S SIMPLE: TRY TO GET the best you can WITH ALL THE incredibly talented PEOPLE ON SET”
what I needed without interfering with things on set. For First Man, we did such a range of different work and it was one of the first to use an interactive LED screen. We also took archival footage from the sixties and seventies, cleaned it up, reframed it and made it more cinematic – including using footage which hadn’t been seen before. Then, of course, the whole collaborative experience working on Dune . My way of working is quite simple: try to get the best you can with all the incredibly talented people on-set and never have the attitude of ‘fixing it in post’. I firmly believe there isn’t such a thing as bad visual effects, just bad prep and time-constrained shoot decisions.” Lambert’s last project was Dune: Part Two.
experience,” says Lambert. “That’s also where I first met Denis Villeneuve; we got on very well. I was there for the entire shoot with John Nelson, who was the overall supervisor. It was such an experience to see Roger Deakins at work – a real crash course in getting exactly
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