Nick Booth

This puts him in the top ten longest-serving crew at the company.

Nick focuses on the technological planning, inter-departmental workflows, future focus and sound management of the Optical Departments, working primarily early in the company’s pipeline. 

The ‘On Set’ department carefully capture data and reference from film sets for the rest of the studio. ‘Editorial’ manage the flow of information and images to and from our clients and ‘Imaging‘ ensure our work is seen as it should be. ‘Camera’ replicate camera and character motion from our client’s imagery, while the ‘Paint’ and ‘Roto’ departments work to prepare our clients’ images for integration with other VFX from the wider studio.

He was thrilled to be Pre-production cordinator in The Lord of the Rings trilogy where he managed our onset teams through the course of the live action and miniatures shooting all over the country. 

I then moved into Wētā ‘s Film scanning and recording bureau where he worked with prototype technology and amazing photography. He was also lucky enough to transfer some of the country’s earliest filmed images safely from crumbling nitrate film to digital formats.      

He has since worked with new and emerging technology such as building a stereo ingest process for the first Avatar film, in-house tools for processing RED, ARRI and SONY raw imagery and recently designing our plate workflows to accurately ingest and deliver images across all weta projects.

Nick has recently been the Digital Imaging Supervisor on Michael Gracey’s Better Man, Wes Ball’s Kingdom of the Planet of the Apes and Captain America: Brave New World.

Born and bred in Wellington, New Zealand, Nick has touched just about every single project that ever made its way through the Wētā FX facility, and some that didn’t, like The World’s Fastest Indian.

Fun Fact: Nick Booth co-directed Frodo is Great, Who is That (FIGWIT) – a favourite among The Lord of the Rings fans.