About Us

With over 15 years in the Visual Effects industry, Alana has seamlessly transitioned from artist to executive leadership. From her early days as a compositor in LA to a decade-long stint in Australia, progressing from comp lead to production & operations management, her focus has consistently centered on enhancing the artist and client experience. Motivated by a desire to create better work environments, Alana made a strategic move into the business side, leveraging an MBA to sharpen her acumen. Returning state-side, she assumed the role of COO at Crafty Apes and, after three impactful years, confidently stepped into the CEO position during a pivotal moment in Crafty’s and the industry’s history. Alana finds balance through artistic pursuits, indulging in oil painting and various crafts. Her passion extends to the intellectual challenge of competitive games, especially chess and strategic board games, often engaging in spirited matches with her husband.

Matt Akey has been in the Hollywood community, producing visual effects, animation and live action content for over 20 years. He is an ardent fan of bullet points:

• Works as a VFX Executive Producer, supporting our many teams internationally. VFX Produces a bit, marketing, PR… et. al.
• Caretakes three (3) Akey Jr’s and a Coonhound / Staffordshire Terrier mix
• Was nicknamed the “Mad Bomber“ in high school for his baseline fadeaway 3-pointer.
• Culinary choices – Alaskan Halibut, Montepulciano Chianti, Fried Artichoke Heart and Vanilla Bean Crème brûlée.
• Community theater director, reclaimed wood connoisseur and Steve Nash fan.
• Watches: Braveheart, Shawshank, Amelie, Heat, Friday Night Lights
• Listens: Hamilton (Broadway Recording), U2, Debussy, Lecrae
• The ones he enjoyed working on the most: Man of Steel, Just Mercy and Hugo

Leo Dencik is a finance leader focused on scaling high-growth organizations with discipline and long-term sustainability. He began his career supporting fast-paced, data-driven companies, including CPO Commerce, Sonic Electronix, and India Hicks, where he led financial planning, operational efficiency, and growth initiatives through periods of expansion. These experiences shaped his strategic approach to building organizations that are both high-performing and resilient.

At Crafty Apes, Leo oversees global finance and plays a key role in guiding the company’s continued growth across its international studio network. Partnering closely with executive leadership, he helps ensure the business remains agile and well-positioned in an evolving entertainment landscape—balancing financial rigor with a deep respect for the creative process.
Based in Los Angeles, Leo enjoys playing tennis and cooking, and is embracing life as an empty nester. He brings a thoughtful, steady perspective to both his work and life outside of it.

Hubert Maston is Chief Innovation Officer at Crafty Apes, where he leads the company’s global strategy across pipeline, technology, and next-generation visual effects.

With more than two decades of experience in high-end VFX and animation, Hubert has held senior leadership and supervisory roles at world-class studios including MPC and Framestore. His work spans major feature films and episodic projects such as Dumbo, Mulan, Aquaman 2, Alien: Covenant, Thor: Ragnarok, Guardians of the Galaxy, and Game of Thrones, reflecting a career rooted in both creative excellence and technical innovation.

Based in Montreal, Hubert partners closely with Alana Newell and the broader leadership team to evolve workflows, advance CG capabilities, and integrate emerging technologies across Crafty’s global studio network. Known for his ability to connect artistry with engineering, he leads research and development efforts and enhances production pipelines to support teams at scale—ensuring Crafty continues to deliver high-quality work while adapting to an ever-evolving industry.

Bulgarian born and raised, Petar’s fascination with technology and storytelling led him to the world of visual effects, where he has built a career blending artistry with innovation. Now serving as VFX Supervisor and Head of Machine Learning at Crafty Apes, Petar’s credits include Unstoppable, Karate Kid: Legends, Creed III, Little Women, and Star Trek, among others. Known for pushing the boundaries of what’s possible on screen, he brings both technical expertise and creative vision to every project he leads. Outside the studio, Petar enjoys traveling with his family and exploring photography.

Dave is a highly regarded Senior Visual Effects Supervisor with a 25-year career and credits on over 40 features.

The Australian native got his start as a Flame Artist, advancing as a Compositor for a decade before co-founding Fuel VFX in Sydney, Australia. He spent more than 12 years at the studio building its reputation for excellence and leading teams as a VFX Supervisor on more than a dozen features including Baz Luhrmann’s Australia, Captain America: The First Avenger, Mission: Impossible – Ghost Protocol and more. After Fuel was acquired by Animal Logic in 2012, Dave carried on in his role as VFX Supervisor on the film Unbroken.

In 2015 Dave made the move to Vancouver, Canada in order to join Image Engine in the roll of VFX Supervisor on projects such as Point Break, Power Rangers, Thor: Ragnarok, and Jurassic Park: Fallen Kingdom. After completing those projects, Dave went onto the Lionsgate’s feature Kin as the show’s Overall Production VFX Supervisor.

Dave made the shift to Method studios in 2018 where he delivered over 600 shots on James Mangold’s Ford V. Ferrari for Twentieth Century Fox and The Kitchen for New Line Cinema. Dave finished the year 2020 as the show’s Production VFX Supervisor on Melissa McCarthy and Octavia Spencer’s film Thunder Force, for Netflix.

In January 2021, Dave set off to join Crafty Apes Vancouver as their new Head of Studio and Senior Visual Effects Supervisor.

Dave is a member of the Visual Effects Society and was formerly a Board Member of its Australian chapter.

A native of north Georgia, Bobby’s career path after graduating from UGA seemed to lead one of two ways: writing the next great American novel or becoming the modern version of a Mad Men character. He did neither – lurking around the Atlanta film scene with some friends, he (very fortunately) made the acquaintance of a few brothers from Alaska, and the rest is history. Now a VFX producer at Crafty Apes, his credits include Zombieland: Double Tap, HBO’s Watchmen, and Apple’s Amazing Stories reboot, with numerous upcoming projects as well. When he’s not neck-deep in spreadsheets, Bobby spends his time reading, playing video games, listening to records, and hanging out in dive bars throughout Atlanta.

Dave is a highly regarded Senior Visual Effects Supervisor with a 25-year career and credits on over 40 features.

The Australian native got his start as a Flame Artist, advancing as a Compositor for a decade before co-founding Fuel VFX in Sydney, Australia. He spent more than 12 years at the studio building its reputation for excellence and leading teams as a VFX Supervisor on more than a dozen features including Baz Luhrmann’s Australia, Captain America: The First Avenger, Mission: Impossible – Ghost Protocol and more. After Fuel was acquired by Animal Logic in 2012, Dave carried on in his role as VFX Supervisor on the film Unbroken.

In 2015 Dave made the move to Vancouver, Canada in order to join Image Engine in the roll of VFX Supervisor on projects such as Point Break, Power Rangers, Thor: Ragnarok, and Jurassic Park: Fallen Kingdom. After completing those projects, Dave went onto the Lionsgate’s feature Kin as the show’s Overall Production VFX Supervisor.

Dave made the shift to Method studios in 2018 where he delivered over 600 shots on James Mangold’s Ford V. Ferrari for Twentieth Century Fox and The Kitchen for New Line Cinema. Dave finished the year 2020 as the show’s Production VFX Supervisor on Melissa McCarthy and Octavia Spencer’s film Thunder Force, for Netflix.

In January 2021, Dave set off to join Crafty Apes Vancouver as their new Head of Studio and Senior Visual Effects Supervisor.

Dave is a member of the Visual Effects Society and was formerly a Board Member of its Australian chapter.

Adam has been in the VFX space before he could grow a beard. He began in Compositing and Matte Painting for longform nearly 30 years ago, weaving on and off sets through Australia, New Zealand, Europe and Asia for DNEG, RSP, PRPP, Fin Design + Effects, MPC, Mill Film and Mr. X. With a sharp interest in full end-to-end workflow and people, he moved through supervisory roles as Compositing, DFX and VFX Supervisor. Soon he forged his own thread of gold in senior management roles; operating in client-facing, early-phase engagement as a Creative Collab Partner alongside teams of Bidding Producers.

In his spare time Adam enjoys crafting jewellery with specialty timbers, painting, motorcycling, cooking, close time with his three kids and rewatching The Big Lebowski religiously with his fearless wife. He’s also absolutely smitten with hot sauces and can now grow a beard in a day.
Some of Adam’s work includes Godzilla X Kong, Finch, Love & Monsters, Extraction 2, Alita: Battle Angel, Alien: Covenant, Prometheus, and Gravity, and a VES win for DFX Supervision of the Quicksilver Pentagon Kitchen sequence in X-Men: Days of Future Past.

Originally from Miami, Chris attended FSU to get a degree in music, but discovered editing early on in school and decided to pursue a career in post-production (don’t worry, he still got a minor in music). After developing a post-grad interest in compositing, Chris’s career took him from Atlanta to LA and back again, including stops at Turner, Rhythm & Hues, Method Studios, ILM, and even a stint working with light-fields and VR at Lytro. A VFX supervisor at Crafty’s Atlanta office since 2018, his credits include projects such as Thor: The Dark World, Divergent, Ant-Man, Dr. Strange, and Life of Pi, the latter of which won an Oscar for best visual effects. In his admittedly limited free time, Chris spends time with his wife, dabbles in electronic music, and has composed the scores for several indie films.

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Luke DiTommaso is the Creative Director and a Senior VFX Supervisor for Crafty Apes New York. He is a Brooklyn native, who attended and later taught at the School of Visual Arts NYC. Luke got his start as an artist, first as a compositor and later as an on set supervisor. After nearly 20 years as a VFX supervisor with his own company, he joined forces with Crafty Apes. For the last two years he has found a home here working on features like The Exorcist: Believer, and TV series such as Only Murders in the Building and The Equalizer.

Jasper Kidd is an award-winning Creative Director and VFX Supervisor with over 20 years of experience across film, episodic, animation, and music videos. Born and raised in New York, he turned down a Physics scholarship to pursue art, studying figurative painting at Pratt Institute and Classical Animation at Sheridan College.

He began his career in London’s vibrant music video scene, collaborating with directors like Chris Cunningham, Woodkid, and Darren Aronofsky on some of the UK’s most iconic projects. At The Mill, he earned accolades including a Cannes Gold Lion for Best VFX, D&AD, Clio, UKMVA, and AICP awards.

In 2017, he co-founded a studio and supervised VFX on Benh Zeitlin’s Wendy, blending miniature puppetry with CG. His credits also include Maniac and The Many Saints of Newark.

In 2021, Jasper joined Crafty Apes as Head of Studio in NYC, and he recently launched the London studio. He oversaw high-profile projects including Steven Soderbergh’s Black Bag and Bob Marley: One Love. Other projects include The Holdovers, The Witcher, and Star Trek: Discovery, pairing creative vision with technical precision on every frame.

I was born and raised in Walsall, England and from a young age my imagination was captivated by fantasy movies that made you believe in the impossible, movies such as Willow, Labyrinth and Jason and the Argonauts.

Following my passion for these masterpieces of illusion I studied at Leeds Metropolitan University earning my degree in Multimedia Technology.
Not long after, roles opened up and I’ve traveled the world from London, Los Angeles, Wellington, Montreal and back to the U.S. in Georgia spanning over 20 years in multiple Visual Effects roles.

Now the passion is as strong as ever to bring the impossible to life as well as use my extensive knowledge to have VFX be a photoreal visually supportive role of great scripts and cinematography and not be the focal point or a distraction from the story telling.

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Alex Dreiblatt is a New Jersey native VFX Supervisor working across the New York metropolitan area with over a dozen years of experience in film and television. His work spans the full arc of production — from early pre-production planning and on-set supervision to post-production oversight and close creative collaboration with directors and cinematographers.

Dreiblatt has served as Overall VFX Supervisor on features for Netflix, Amazon MGM, and Black Bear Productions, including Little Brother, Verity, and Relay, and for Lionsgate as On-Set VFX Supervisor on The Housemaid. His episodic credits as VFX Supervisor include Hello Tomorrow!, The Walking Dead: The Ones Who Live, The Walking Dead: Dead City, and Only Murders in the Building. He brings particular depth to effects work that is invisible by design — grounded in performance, rooted in story, and seamlessly integrated into the world the director is building.

Before moving into overall VFX supervision, he built a foundation as a compositor on Mother!, Ocean’s Eight, The Ballad of Buster Scruggs, Maniac, Warrior, and The Upside, and as Compositing Supervisor on Power, Star Trek: Discovery, and Rustin. That artist-level grounding continues to inform how he works with collaborators at every stage of production.

John Nelson has spent over 20 years in visual effects. As a VFX Supervisor at Crafty Apes, he loves being part of the talented Los Angeles team and solving creative challenges with innovative VFX workflows. John’s journey started in the early 2000s with a passion for video games, which led him from gaming into commercials, particularly in automotive advertising. Currently, his focus is on television and film, and he has worked on exciting projects like Shondaland’s The Residence, Unfrosted, Picard, Westworld, Promised Land, The Walking Dead, and NCIS: New Orleans.

Aleksandra Sienkiewicz is a VFX Supervisor at Crafty Apes Vancouver with over 15 years of experience in computer graphics and visual effects. She began her career in computer science, graphic design, and motion design, where she developed a strong creative foundation before transitioning into visual effects.

Over the years, Aleksandra has led teams on major productions for Netflix, HBO, and Universal, with credits including Black Panther, Guardians of the Galaxy Vol. 2, Terminator: Dark Fate, The Last of Us, Violent Night, Ballerina, Reminders of Him, and Monarch: Legacy of Monsters Seasons 1 and 2.

She is deeply passionate about championing women in the visual effects industry and exploring the creative use of AI.

With over 20 years of industry experience, Oliver has cultivated a career in visual effects across advertising, features, and TV. He started as a runner at an advertising post facility by day, while he trained himself on Inferno by night. This paved the way for his next role as a compositing assistant, where he helped create motion graphics and VFX elements for commercials.

Eager to work on feature films, Oliver joined DNEG in London, initially working across the Scanning, Recording, and Editorial departments before becoming a compositor where he worked on numerous VFX-heavy features. Later in 2009, he relocated to Singapore to play a pivotal role in setting up DNEG’s first overseas studio. There, he not only supervised multiple projects but also spearheaded efforts to recruit and train graduates as compositors, building a robust and skilled team.

In 2015, Oliver moved to Vancouver to take on a management role that saw him supporting compositing and layout teams for several years before an opportunity as a production side VFX supervisor lured him away. He worked as both a VFX Supervisor and On-Set VFX Supervisor for DNEG Vancouver on various high-profile feature film projects. This extended into a new TV department, before he eventually followed the company’s founders over to Belo FX. At Belo, he contributed to high-profile projects like The Last of Us and Madame Web before joining Crafty Apes in 2024.z

Leslie’s dreams of being an artist began when she was three years old, drawing on the walls and furniture of her childhood home in New York City. In time, her artistic pursuits led her to the School of Visual Arts, where she majored in computer art before landing in the professional world of VFX.

Now a 13 year veteran of the industry, Leslie has worked on films and TV shows as both a distinguished supervisor and producer, with credits including all seasons of Star Trek Discovery, Manifest Season 3, The Nighthouse, Marvel’s Runaways, Deadpool 2, The Ballad of Buster Scruggs and more. Leslie’s tireless work ethic, fine attention to detail, and commitment to her clients and colleagues has been instrumental in the growth of the talent and culture of Crafty Apes NY and to the NY VFX industry in general. In addition to all her efforts at Crafty, she is also the (two time) current chair of the NY VES board. However, she still makes time for her artistic passions, including illustration, painting, and photography, along with spoiling her two adorable pet rats.

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Originally from Minneapolis, Minnesota, Alex ironically developed his love for film when his father took him to the drive-in to see The Shining when he was 5-years old. He began his craft as a filmmaker at thirteen when his parents purchased their first Hi8 camcorder and he started to write, direct, edit and act in his own short films. Alex went on to study acting at USC and Shakespeare & Co. before getting his first job in post production in 2004. While working as a vault manager, Alex would start his own production company, Gantry Productions, in 2006, where he would go on to write, direct, edit (and sometimes act in) two features and four short films. He also developed a love for directing and editing music videos, working with such notable artists at Jurassic 5 and solo members Marc 7 and Soup. Working simultaneously behind the camera and in post, Alex’s appreciation for Visual Effects blossomed, leading him to become a VFX Producer in 2012. His passion for that world took over, and he’s never looked back, eventually becoming a VFX Supervisor in 2016. Alex is proud to have worked as a supervisor on films such as Avengers: Endgame, The Revenant, and The Flash, as well as acclaimed television shows True Detective, Veep, 1883 and What We Do in the Shadows.

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After graduating from the School of Visual Arts in Manhattan for Visual Effects, Nico began working as an on set supervisor and an artist in CG/Compositing for episodic TV. He’s now a Visual Effects Supervisor with Crafty Apes and moved to L.A. just a few years ago. Some of his highlight experiences include working with the Sesame Street Workshop puppets, fighting off bad guys with CG creatures in Happy!, and expanding film in the sports world with Lebron James’ The Springhill Company as the overall supervisor on Fantasy Football, in which he partnered with director Anton Cropper from conception through completion. He also served as the overall VFX Supervisor on-set through post on Shawn Levy’s Alexander and the Terrible, Horrible, No Good, Very Bad Day for Walt Disney Pictures, and Sony’s Karate Kid Legends (Summer 2025). In his spare time, Nico is always composing music, spending quality time with his family in the Northeast, and hiking the treacherous mountains on the Pacific Coast.

Jonathan is an accomplished London-based VFX Supervisor with over 25 years of experience in the visual effects industry. He began his career as a runner at renowned VFX house Rushes, quickly progressing through roles in 2D and VFX Supervision across several leading studios, including First Post Productions, MotionFX, uFX, Method Studios, and Jellyfish Pictures. Jonathan’s extensive television credits include Stranger Things (Season 4), The Book of Boba Fett, Gangs of London (Seasons 1-3), Watchmen, and Ghosts. His feature film work spans major titles such as Star Wars: The Last Jedi, Rogue One: A Star Wars Story, Matilda the Musical, Avengers: Age of Ultron, and Guardians of the Galaxy. Jonathan combines a calm and collaborative approach to supervision, with a strong focus on the creative with technical precision.

Tehmina is a VFX Supervisor with a highly technical background and a lifelong passion for world-building. Her creative path began in childhood designing monsters and immersive environments—a fascination that evolved through painting and photography into a deep love for cinematography. This journey was professionally ignited during her Audio Engineering studies, where she discovered the powerful synergy between sound design, editing and cinematic storytelling.

With a degree in Computer Science and a background in software security and development, Tehmina brings a unique engineering perspective to high-end visual effects. Over her career, she has contributed to more than 50 productions, serving as the on-set lead for over 30 titles. Her credits span prestige television and acclaimed independent cinema, including the Emmy-winning Ripley, Marvel’s The Defenders, HBO’s And Just Like That, and Jeremy Saulnier’s Rebel Ridge.

Transitioning from DMP artist and CG Supervisor to on-set leadership, Tehmina specializes in de-risking complex productions and translating ambitious creative visions into scalable, high-craft realities.
A resident of Clinton Hill, Brooklyn, Tehmina is a devotee of independent horror and psychological thrillers. When she isn’t on set or behind a camera, she is navigating the rewarding new challenge of motherhood with her daughter, Evie—a role that has only deepened her focus on building a more efficient, sustainable, and innovative future for VFX.

Mark Bortolotto is a VFX Supervisor and Head of 2D at Crafty Apes in Sydney. Over a 20+ year career spanning Australia, the UK and Canada, he has contributed to more than 50 feature film and television credits.

Mark began in Melbourne, earning a degree in Multimedia Design and building his skills in local film and television. In London, he joined DNEG, taking on key compositing roles on VFX-heavy feature films. In Vancouver, he worked with industry leaders MPC and Method Studios before helping Crafty Apes build its Vancouver studio.

Now he has come full circle, returning to Australia to support the highly talented Crafty Apes Australia team as Head of 2D. As VFX Supervisor, he oversees feature and episodic work across a range of genres, bringing a creative, energetic perspective to every project, both on set and through post.

Stephanie Pocklington is a CG and VFX Supervisor with over a decade of experience leading visual effects on some of the industry’s most ambitious productions. Her credits span Avatar: The Way of Water, Rogue One: A Star Wars Story, Jurassic World 2, Game of Thrones, and Love and Monsters – on which she served as CG Supervisor for the Oscar-nominated film, overseeing creature, environment, and animation pipelines across hundreds of shots.

Throughout her career, Stephanie has held senior roles at Weta Digital, MPC, Sony Pictures Imageworks, Netflix Animation, and Mr. X, developing deep expertise in large-scale CG pipelines, creature development, and environment integration. Stephanie also has industry experience working with LED-volumes for Virtual Production, guiding creatives on best practices and supervising visuals while keeping the live setup as optimised and flexible as possible. Beyond studio work, she has directed commercial, VR, and multimedia projects and has also written award-recognized scripts – experience that further shapes her story-first approach to visual effects and creative leadership. Her unique academic background in Bioarchaeological Anthropology and Visual Arts additionally informs her eye for anatomy, realism, and design.

Originally from Canada, Stephanie is now based in Sydney, Australia, where she enjoys spearfishing, illustration, creating pieces for her jewelry company and dorking out on the occasional video game.

Growing up in San Diego, California, John’s favorite class in school was always video/film. Whether dressed as a detective solving mysteries, or popping out of trash cans to the beat of The Proclaimers, John’s love of all things film was solidified. Although his grand oeuvre is yet unrealized, he is filling that creative urge in the realm of visual effects.

John’s VFX journey began doing night-shift rotoscoping for Jason Sanford, where he lived on Trader Joes frozen dinners and RadioLab podcasts. His skills were further forged at Pixomondo, working late nights on the VFX Oscar winning “Hugo,” and making himself sick on Ralphs fried chicken and potato wedges. Occasionally he ate vegetables; sometimes it went poorly. John is also an alumnus of Scanline VFX and Kelvin Optical, where he worked on great teams and also started eating like an adult and competing in triathlons.

John joined the amazing team at Crafty Apes in 2017 and hasn’t looked back, supervising shows such as The Batman, Mulan, Cry Macho, and Spider-Man No Way Home.

When not being attacked by his two small children, which is most times, John’s passions include photography, Padres baseball, US soccer, and travel. If John were an animal he’d be an orange cat.

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A North Carolina native, Tim knew from childhood he wanted to merge his love of art and technology – passions that led him to filmmaking in high school. Shooting short films on an old Sony camcorder and doing his first VFX on his beloved PowerMac, he was hooked. VFX opened a world of possibilities for bringing anything imaginable to life.

Tim began his visual effects career in 2006 as a compositor at Frantic Films (later Prime Focus), working on films like G.I. Joe: Rise of the Cobra and Avatar. He has since worked at MPC, Technicolor, and Ghost VFX before joining Crafty Apes in 2021. Since joining the Crafty team, Tim has served as compositing supervisor (Spider-Man: No Way Home, The Last of Us, Wizard of Oz at Sphere) and visual effects supervisor (John Wick 4, The Mother, Foundation, Lenovo Tech World at Sphere). Tim still loves getting his hands dirty compositing in Nuke whenever he can.

He lives in Burbank, CA with his wife, dog, and a giant collection of nerdy things.

Blake grew up wanting to work in the film industry, but it seemed too lofty a goal for someone in Southern Indiana. After spending a year in business school and finding it dissatisfying, however, he moved to Florida to study computer animation. Shortly after graduating, Blake met his future wife Brooke, moved to Atlanta, and began working with Crafty Apes as a junior compositor. When the company expanded, Blake and his wife moved to NYC where he is now a VFX supervisor. As a hobbyist, he enjoys playing guitar and programming. As a sinner saved by grace, he and his wife pursue knowing and worshiping Christ and gathering with their local church in Manhattan throughout the week.

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Hubert Maston is Chief Innovation Officer at Crafty Apes, where he leads the company’s global strategy across pipeline, technology, and next-generation visual effects.

With more than two decades of experience in high-end VFX and animation, Hubert has held senior leadership and supervisory roles at world-class studios including MPC and Framestore. His work spans major feature films and episodic projects such as Dumbo, Mulan, Aquaman 2, Alien: Covenant, Thor: Ragnarok, Guardians of the Galaxy, and Game of Thrones, reflecting a career rooted in both creative excellence and technical innovation.

Based in Montreal, Hubert partners closely with Alana Newell and the broader leadership team to evolve workflows, advance CG capabilities, and integrate emerging technologies across Crafty’s global studio network. Known for his ability to connect artistry with engineering, he leads research and development efforts and enhances production pipelines to support teams at scale—ensuring Crafty continues to deliver high-quality work while adapting to an ever-evolving industry.

Matt Akey has been in the Hollywood community, producing visual effects, animation and live action content for over 20 years. He is an ardent fan of bullet points:

• Works as a VFX Executive Producer, supporting our many teams internationally. VFX Produces a bit, marketing, PR… et. al.
• Caretakes three (3) Akey Jr’s and a Coonhound / Staffordshire Terrier mix
• Was nicknamed the “Mad Bomber“ in high school for his baseline fadeaway 3-pointer.
• Culinary choices – Alaskan Halibut, Montepulciano Chianti, Fried Artichoke Heart and Vanilla Bean Crème brûlée.
• Community theater director, reclaimed wood connoisseur and Steve Nash fan.
• Watches: Braveheart, Shawshank, Amelie, Heat, Friday Night Lights
• Listens: Hamilton (Broadway Recording), U2, Debussy, Lecrae
• The ones he enjoyed working on the most: Man of Steel, Just Mercy and Hugo

Originally from Wales, Gill is a veteran of the film industry with decades of experience and a reputation that precedes her throughout the business. Her genuine love of visual effects’ creative possibilities—and its constant, astonishing evolution—drives her enthusiasm to collaborate and champion what’s possible with her industry peers.

Having produced a wide gamut of theatrical and streaming productions, Gill is a natural fit for the Crafty Apes crew. Her extensive credits speak for themselves, spanning some of the most exciting projects in the business — including Captain Marvel, Spider-Man: Far From Home, Logan, The Boys, and Hocus Pocus 2. She is also a proud BAFTA member, and the annual screening season remains one of her genuine pleasures.

When she’s not in production mode, you’ll find her at dinner with her husband and sons, a good bottle of Shiraz in hand, or out on a beach walk with her gloriously stinky rescue dog, Phoebe. (Her first date with her husband was Toy Story — he thought it was an odd choice for a grown woman. She stands by it.) Rugby union is in her bones, and always will be.

Gracie Edscer started her career at MPC in London where she worked in various roles in Production, including managing the animation teams on the Harry Potter and Narnia Films and worked her way up to VFX Producer. Gracie has worked in various locations including Vancouver as a VFX Producer as well as Los Angeles where she joined the Business Development team as a Bidding Producer and an Executive Producer helping to secure new projects including The Little Mermaid, The Call of The Wild and The Last Duel. Now based back in the UK Gracie joined Crafty Apes in 2023 as Executive Producer as part of the global Business Development team as well as establishing the client base in the UK.

Alicia Garibaldi is a global marketing and communications leader with 15+ years of experience spanning brand strategy, content, and growth marketing. At Crafty Apes, she partners closely with studio leadership and creative teams to elevate brand presence, awards campaigns, and client storytelling across film, episodic, immersive, and real-time projects.

Previously, Alicia held senior marketing roles at Glassdoor and Lever and is the author of multiple For Dummies titles. Outside of work, she loves skiing with her family, sunset walks on the beach, cheering from the sidelines, and squeezing in tennis with friends.