Geoffrey Bund

An experienced technology and media professional with subject matter expertise in virtual reality and complex realtime capture solutions.

Entertainment PROJECTS

All dates are approximate and I have omitted projects that were not significant in terms of challenge, complexity, profile or duration.

Virtual Reality/360 Capture work

June 2017: CMA Fest VR: Lead Producer and Technical Supervisor

As the Lead Producer and Engineer, I oversaw the entire production from the Nokia OZO side. I worked with the network executive team, organized budgets and travel, developed and executed the broadcast and camera workflow strategies, hired and supervised the whole crew, technically supervised the live broadcast/capture and facilitated the post-production. Everything went off seamlessly and ultimately, everyone was thrilled with the end result.

 

May 2017: Dancing with The Stars Live VR:  Lead Producer and Technical Supervisor

Executed everything from pre-production camera placement negotiation with the 2D broadcast to budgeting, gear rentals and hiring. I worked in tandem with the ABC executive team to ensure that we could execute their vision for both capture and distribution. I set up the entire broadcast workflow and engineering station on stage including fiber/cabling as well as the endpoints for the broadcast itself. At the end of the day, it was all worth it as the project went off flawlessly.

 

April 2017: Coachella VR 360: Technical Supervisor

I ensured the proper equipment, signal chain, and personnel were on site. I setup broadcast servers and provided technical support on site for Nokia software and hardware.

 

October 2016: Austin City Limits VR 360: Technical Supervisor

I ensured the proper equipment, signal chain, and personnel were on site. I setup broadcast servers and provided technical support on site for Nokia software and hardware.

 

May 2016: One Republic Kids Music Video: Technical Supervisor

1.3 million views on Youtube

I worked extensively with the Director and creative team in pre-production. Together, we choose the proper camera supports and movement and made sure we had all the timing down for each meticulously synchronized shot. Once the video was shot, I was also support for post-production and VFX. 

 

May 2016: UEFA Champions League Final, Live VR: Technical Supervisor

I ensured the proper equipment, signal chain, and personnel were on site. I setup broadcast servers and provided technical support on site for Nokia software and hardware.

 

May 2016: Alice, Through The Looking Glass, Premiere, Live VR: Technical Supervisor

I ensured the proper equipment, signal chain, and personnel were on site. I negotiated proper camera placement with the 2D broadcast and supervised camera setup. I setup broadcast servers and provided technical support on site for Nokia software and hardware.

 

March 2016: Carrier 360: Technical Supervisor

I worked with the USA Today/Gannet team to make sure they could execute their vision for the project. I led the teams in successfully mounting the OZO on everything from landing decks to helicopter rescue hooks in a way that secured great footage that could be stitched together and delivered properly. Additionally, I was heavy support for post and VFX.

 

November 2015: Argos File: Technical Supervisor

Admitted to Venice Film Festival VR Showcase

Proto Award, Best Live Action Experience

I worked hand-in-hand with the Director and Producer to make sure they could realize their vision within the boundaries of the Nokia OZO technology. I built custom hardware solutions for the project so the director could watch his takes played back just seconds after the take. I worked with them in the weeks leading up to the production to help structure shots and ensure the project would be set up for success both on-site and in post-production/VFX. Additionally, I oversaw the camera team during production. 

 

April 2015: Payday The Hostage VR: Technical Supervisor

I worked hand-in-hand with the Director and Producer to make sure they could realize their vision within the boundaries of the existing technology. I built custom hardware solutions for the project so the images could be stitched as quickly and easily as possible. I worked with them in the weeks leading up to the production to help structure shots and ensure the project would be set up for success both on-site and in post-production/VFX. Additionally, I oversaw the camera team during production.

 

Stereoscopic Cinema Work

2013: Dawn of The Planet of the Apes: Stereoscopic capture technical team lead, main unit

$170 million budget, $710 million box office

DOTPOTA was the largest and last feature film I completed. I led the technical 3D team through an extremely challenging and arduous shoot with 95% of our time in rugged locations in the British Columbian park system and swamp areas surrounding New Orleans.

 

2012: Stalingrad: Stereoscopic capture technician, team lead, stunt unit

Largest budget Russian film since fall of Soviet Union

My team and I spent the better part of a year in Moscow and Saint Petersburg running the 3D capture side of the stunts portion of the feature. We also spent time training the local Russian team on the hardware, software, and best creative and technical practices of stereoscopic, cinematic capture.

 

2012: Flight of The Butterflies IMAX 3D: Technical Team Lead, Texas unit

Lead technical team using experimental camera systems to shoot IMAX feature film. Under my leadership response time was reduced and production ran ahead of schedule in spite of ambitious technical goals and locations.

 

2011: Katy Perry Part of Me: Technician and Convergence Puller

Was responsible for building and running 3D camera hardware in addition to balancing depth during live broadcast of concert which was subsequently used in widely released DVD.

 

2011: Black Eyed Peas 3D: Technician and Convergence Puller

Was responsible for building and running 3D camera hardware in addition to balancing depth during live broadcast of concert which was subsequently used in widely released DVD.

 

2011: Amazing Spiderman: 3D/Stereoscopic capture technician, stunt unit

$230 million budget, $757 million box office

On Spiderman, and I worked on a camera team using advanced hardware and software platforms to create sub-pixel accurate Stereo image capture. Responsibilities included day to day operation but also problem solving advanced capture strategies and troubleshooting problems quickly under pressure.

 

Episodic Television Work

2013: The New Normal: Camera Utility

Managed equipment, signal chain, footage and day-to-day functioning of a camera department on an episodic tv show.

 

2010: CSI Miami: Digital Loader

Installed signal chain, assisted camera department and managed digital footage workflow on-set.

 

2008: Treasure Quest: Camera Technician

I provided second camera coverage and installed and managed a digital footage workflow on a seagoing vessel.  

 

2007: The Apprentice: Camera Assistant

Camera assistant on reality tv show. Managing camera equipment and logging and documenting shot tapes.

 

Examples of Technical Writing Skills

OZO + 360 Camera Movement (PDF)

OZO + Exposure Guide (PDF)

Shooting For Stitching (PDF)

Copyright ©️ Geoffrey Bund 2017. All Rights Reserved.