Steve Wright is a senior visual effects artist with over 20 years of production experience creating digital effects for over 70 feature films and 70 television commercials. His extensive film credits include Night at the Museum 2, Shutter Island, Ray, Ali, Traffic, Air Force One, Batman & Robin, and many, many more. As a senior digital compositing artist and 2D technical director he has an unusual combination of both artistic and technical understanding of visual effects compositing. He is also a published author, writer, public speaker, and a widely recognized expert in the visual effects industry.

Since 2005 Steve has been a master trainer traveling around the world conducting VFX compositing training for major studios such as Disney Feature Animation, Prime Focus, Reliance MediaWorks, Pixar Animation and many more. Steve has also published two popular books on compositing both available on Amazon.com, Compositing Visual Effects as well as Digital Compositing for Film and Video and produces training programs and conducts classes and workshops both online and location based. He has produced many Nuke tutorials for The Foundry’s website as well as Mocha for Imagineer Systems and Particular for Red Giant. His tutorials have won two Telly awards and he is a member of the Visual Effects Society (VES) and the Digital Cinema Society (DCS). Steve is also one of the first Certified Nuke™Trainers by The Foundry®.

Steve’s digital effects career actually started in the 80’s at Atari where he designed and programmed video games. From the video game industry he then joined Robert Abel & Associates, the award winning leader of the 3D animation industry producing leading edge cgi commercials for television. Following Robert Abel & Associates Steve and a partner opened Sidley-Wright and Associates, a VFX studio in Hollywood. It was at Sidley-Wright where Steve purchased the Pixar P2 compositing computer system, mastered the art of digital compositing, and produced high-end VFX compositing first for commercials, then for feature films. He even developed a cel animation digital ink and paint system that was used for a dozen television commercials plus the special effects shots for five animated feature films. From this rich background of digital compositing for commercials, feature films, and even animated films, Steve was invited to join Cinesite, Kodak’s premier digital effects facility, as a senior compositor. His command of the art and science of digital compositing quickly won him a promotion to 2D Technical Director where he later became the digital imaging go-to guy for Cinesite’s ground-breaking Digital Intermediate operation.

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