Jinko Gotoh, Producer, Netflix

Jinko Gotoh is an Oscar-nominated producer and consultant for the animation industry. Her strengths and passion include the nurturing of creative talent, discovering new voices, and charting new technologies and creative processes. Born in Japan, Jinko’s passion for animation sparked at an early age after two profound experiences: a viewing of Lady and the Tramp, and a resounding meet with Osamu Tezuka, creator of Astroboy. Jinko is currently producing her second Netflix feature with Mark Osborne directing. Her other producing screen credits include: BAFTAwinner and Oscar-nominated Klaus, The Lego Movie 2: The Second Part, The Little Prince, Oscar-nominated The Illusionist, 9, and Oscar-winning Finding Nemo.Jinko worked at Disney Feature Animation as director of digital production, overseeing the inevitable move to CGI animation and its extensive application on such features as Dinosaur and Fantasia 2000. Since leaving Pixar in 2003, Jinko’s assignments have taken her around the globe, working for major studios and on independent films. Jinko serves as the vice president for Women in Animation, an advocacy organization to advance women in the industry. She is also a member of AMPAS, where she represents diversity and inclusion on various committees. Beyond that, she is the PGA’s co-lead of the BIPOC working group for animation and VFX, and is co-presidnet for Symphonic Jazz Orchestra, which provides music education to underserved neighborhoods. She holds a Bachelor of Science in Applied Math and MFA in Film from Columbia University. Jinko is a published poet and happy rescuer of many, many dogs.

Eve Roth, Lead Technical Artist, Parallux

Eve Roth the Lead Technical Artist at Parallux, working on virtual events and production for films. As the technical artist for Parallux, she has overseen the use of virtual production tools for animated films. She oversees other 3d generalists for company wide projects, including games and short films, and assists with the creative direction for internal projects.

Eve has recently graduated with honors from Pratt Institute(2020) with a BFA in Digital Art, and a background as a 3d generalist. She is self taught in Unreal Engine and used the software for her capstone film, as a tool for fast iteration and high end rendering. After graduation she began working as an Unreal Operator for an upcoming feature at Netflix

Pepe Valencia, Visualization Supervisor, BARABOOM! Studios

Pepe Valencia is a veteran in the CG field with 25+ years of experience. Since 2009, he is the founder and Visualization Supervisor of BARABOOM! Studios. With headquarters in Los Angeles and a branch in Spain, Pepe's home country, BARABOOM! Studios is a Visualization boutique specialized in previs, postvis, techvis, and virtual production. Some credits include the Academy Award-nominated "Klaus",  Emmy winner "Pearl " and "Book of Life".  

In 2007 he served as Director of Photography for the film "Astro Boy". and prior to that worked at Sony Imageworks for 11 years from 1996 to 2007, as Animation Supervisor on "Peter Pan", "The Aviator", and "Charlie's Angels." Other credits include "Surf's Up," "Open Season", "Stuart Little" 1 and 2.He is also a member of the Joint Technology Committee on Virtual Production, and a past member of the Joint Technology Subcommittee on Previsualization.His passion for education took him to teach at CalArts, Animation Mentor, and Gnomon School of Visual Effects. He is co-author of the book “Inspired 3D Short Film Production”.Pepe's commitment to excellence brings him to constantly research and seek technology innovation to find new and effective ways to illustrate content and narrative.

Lyndon Barrois, Artist, Animation Director, Filmmaker, IT'S A WRAPPER! STUDIOS

An AMPAS VFX Executive Branch member, Lyndon boasts a long career in art and animation. His film credits include The Matrix Trilogy, Happy Feet, and The Thing, where he directed pivotal character animation sequences in those features. He currently wins accolades for his unique gum wrapper sculpture animations of historic figures and events, whose portraits and Sportraits are produced entirely on iPhones. Within the art world, his work has been featured in major institutions from the Pérez Art Museum Miami, to the Museum of Contemporary Art Los Angeles. Subjects of his work have ranged from gender inclusion in the FIFA World Cup, to America’s Covid-19 crisis, racial uprisings and elections of 2020. An HBCU grad from New Orleans, he serves on the boards of The Smithsonian National Portrait Gallery, California Institute of the Arts (his MFA Alma mater), and the AMPAS Museum’s Inclusion Task Force.         ItsAWrapper.com                                            instagram.com/itsawrapper

Kimberly Aller, Vfx Production Supervisor & Manager

Kimberly Aller is a Visual Effects Production Supervisor and Manager who most recently worked on the filming of the Avatar sequels. During that time, Kimberly worked with Weta Digital and was embedded with Lightstorm Entertainment to ensure that Weta’s onset team of lighters, animators, software developers, and motion capture and stage technical directors were fulfilling the project’s creative and logistical goals. 

Kimberly was the onset VFX Production Manager with Weta on Rampage in Atlanta where she worked with the client during production to incorporate virtual production workflows and techniques into their shoot. Kimberly also worked with Weta in onset production across Alita: Battle Angel, Avengers: Infinity War, War for the Planet of the Apes and Valerian.

Kimberly started her career at 20th Century Fox in the studio's Vfx department where she was first introduced to virtual production. From there she was a part of the VFX team on location for Dawn for the Planet of the Apes where she learned about the film’s groundbreaking location and volume based mocap techniques.  Kim’s previous roles also include working as a VFX Coordinator with Steven Spielberg on The BFG and Bridge of Spies.

Sue Rowe, Visual Effects Supervisor, Scanline VFX