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"I didn't actually read it. The first time Alfonso came in, I don't think he had finished it yet. I just remember sitting by a window at the office while he explained the story for forty-five minutes, feeling exhausted already. And it's amazing thinking back to that, how incredibly close to that it was. I remember thinking that it's a different movie, about a single person alone in space, so I knew it would be a challenging movie at the time. I certainly didn't think you could do it easily - things always comes down to time and money at a point. We could do it, but how?"
―Tim Webber on Gravity.

Timothy "Tim" Webber is an English visual effects supervisor.

Webber supervised the visual effects on Gravity along with Chris Lawrence, for which he has been nominated for an Academy Award for Best Visual Effects at the 86th Academy Awards.

Work on GravityEdit

Having worked with Alfonso Cuarón before on Children of Men, Webber was Warner Brothers’ VFX supervisor on Alfonso Cuarón's space epic, Gravity (2013), with the techniques involved in the film realized by Webber and the Framestore team, taking three years to complete. David Heyman, co-producer of Gravity, hired Webber to oversee the film's visual effects work. For his work on Gravity, he has been nominated for the BAFTA Award for Best Special Visual Effects at the 67th British Academy Film Awards, and an Academy Award for Best Visual Effects at the 86th Academy Awards.

CareerEdit

In 1988, Webber joined the British visual effects company Framestore, based near Oxford Street in London. He led the company's push into Digital Film and Television, developing Framestore’s virtual camera and motion rig systems. He has been the visual effects supervisor in some of the most technically and artistically challenging projects, including, Harry Potter and the Goblet of Fire (2005) Christopher Nolan's The Dark Knight (2008), James Cameron's Avatar (2009), and Louis Leterrier's Clash of the Titans (2010). 

Quotes on GravityEdit

  • [Why using conventional rigs wouldn't have worked in filming] "I think there are two reasons. It would work for a period of time but not for the whole movie because you can see the wire. You can sense it on traditional wiring certainly, but even on a heavily developed one you can just tell what'd going on. There are certain moves you just can't do on a wire rig, the wires just get in the way. But also because Alfonso has very long shots. It couldn't get you a long shot. It would just be impossible to manipulate."

Oscar winEdit

"Gravity" winning the Oscar® for Visual Effects02:15

"Gravity" winning the Oscar® for Visual Effects

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