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 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.
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.
Mark Bortolotto is a VFX Supervisor and the Head of 2D at the Crafty Apes Vancouver office. His VFX career has spanned 18 years across roles in Australia, the UK, and Canada, and he has racked up 50+ feature and TV credits.
Starting in Melbourne, Mark earned a degree in Multimedia Design and honed his skills in local film and television. In London, he joined top-tier VFX house DNEG, taking on a pivotal compositing role for VFX-heavy feature films. In Vancouver, Mark further established himself by working with industry leaders like MPC and Method Studios before stepping into his current role at Crafty Apes. He supports the highly-talented Crafty Vancouver team of artists, oversees feature and episodic visual effects work across a number of genres, and always brings his creative and energetic perspective to movie-making with clients, both on-set and through post.
Gemma began her career in 2003 at MPC London as a runner, and soon realised that the film department was where she wanted to be. She quickly rose her way through the ranks to gain her first credit as a Coordinator on Harry Potter and the Goblet of Fire; an experience that confirmed her instincts for problem-solving and keen eye for detail were a perfect match for production. In 2008 she relocated to Sydney, and after the initial six months decided to stay a little longer. Now almost two decades later she still calls Australia home, and has worked with teams around the world to contribute to many high-profile projects including Harry Potter and the Deathly Hallows, The Hunger Games, X-Men Days of Future Past and Lilo and Stitch before joining the team at Crafty Apes.
Originally from Dublin, Ireland, Jeannette is a veteran industry executive with over 35 years of experience across animation, visual effects, and film production. She started her career in traditional Animation as a Rostrum Camera Operator and later as Compositor on some children’s classics like Anastasia and Titan AE. After transitioning to VFX she worked globally in the US, Australia, Japan and Canada and is now back in Australia to lead our Sydney office. Some of her credits include, Thor: Love and Thunder, Happy Feet 1 & 2, Joker, Top Gun: Maverick and Furiosa – A Mad Max Saga. In her free time she loves to read all kinds of books accompanied by a glass of good red wine.
Based in Sydney, Australia, Deb brings more than three decades of experience across the animation and visual effects industries. She began her career as a traditional artist with Hanna-Barbera—yes, Scooby-Doo!—before joining Walt Disney Studios, where she found her dream job. Over the years, her career evolved from artist to supervisory roles and ultimately into senior management, with a constant focus on supporting the people behind the pictures.
Having navigated multiple industry shifts, including the transition from traditional animation to CG and eventually into VFX, Deb has built a broad perspective across both creative and operational leadership. She has played a part in the growth and evolution of several leading studios, including Animal Logic, Flying Bark, Method Studios, ILM, and DNEG.
Today, as HR Business Partner and People Operations lead, Deb combines her unique background in production and people leadership to foster high-performing, specialized teams and cultivate strong studio cultures. She believes in building for quality rather than simply scaling for size, always putting people at the center of success.
Outside of work, Deb enjoys staying active, exploring local walks, and immersing herself in Sydney’s vibrant cultural scene. She is also passionate about protecting native Australian wildlife and preserving natural habitats as cities continue to evolve.