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S1 E10: Will Foulser – CG Environment Supervisor

Will Foulser - CG Environment Supervisor

Will Foulser is a CG Environment Generalist Supervisor.

This may seem like a bit of a mouthful to those outside the visual effects industry, but fundamentally Will’s work involves creating beautiful and believable environments for feature film and television at DNEG, one of the world’s leading VFX and animation studios.

Growing up in South London, Will drew inspiration from a wide range of TV and film, and particularly from his mother’s talents as an accomplished artist. Never settling on one format, he spent his youth experimenting with model-making, photography, film and sketching, enjoying a wide range of ways to express his creativity instincts.

After studying Computer Animation at Bournemouth University Will established his career at DNEG working on night shoots to capturing camera data for Joe Cornish’s 2011 hit, ‘Attack the Block’. Since then, he has worked on a wide range of Hollywood blockbusters including ‘Interstellar’, ‘Bohemian Rhapsody’, ‘Mission Impossible: Fallout’, ‘Avengers: Infinity War’ and ‘Les Misérables’.

Most recently, he has been involved in Christopher Nolan’s 2020 espionage thriller ‘Tenet’. The film, starring John David Washington and Robert Pattinson, follows an unnamed CIA agent as he embarks on a dangerous time-bending mission to prevent the start of World War III.

Chernobyl
‘Chernobyl’ (HBO/Sky)

Beyond the world of film, Will was Environment Supervisor for ‘Chernobyl’, the five-part miniseries co-production from HBO and Sky that dramatises the events of one of the worst man-made catastrophes in history, vividly retelling the story of the sacrifices made to save Europe and its people from unimaginable disaster.

The efforts by Will and the DNEG team were recognised at the 71st Creative Arts Emmy Awards with the award for ‘Outstanding Special Visual Effects in a Supporting Role’ for their work on the critically acclaimed series.

DNEG’s TV VFX team delivered around 550 visual effects shots for the series that included creating the RBMK-type nuclear reactor building inside and out, developing complex destruction and smoke simulations, and researching and designing never-before-seen shots, including peering into the burning reactor core.

Our conversation covers his formative years growing up in Dulwich, the often complicated relationship between Hollywood and the VFX industry, and resisting the temptation to express love to inspirational film makers.

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