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Day After Tomorrow

The Last Airbender

Iron Man 2

Final Composite

Iron Man 2

Original Plate

SAAB

Audi

Priest

Priest

Priest

Vanilla Sky

Archetype

Day After Tomorrow

Mezzo

Nine Inch Nails

Ford

About

About

Robert Nederhorst is a man passionate about the need to create new  things and embracing new technology. His humble beginnings in the world of visual effects started when he watched Terminator 2. He knew then and there he wanted to do what he saw on the screen.

Starting in 1998 at Digital Domain, where he worked on such feature films as Stealth, The Day after Tomorrow, Daredevil, Star Trek: Nemesis, We Were Soldiers, Vanilla Sky, Spy Kids, The Grinch Who Stole Christmas, X-Men, Supernova, as well as dozens of commercials. Next, he served as a Visual Effects Supervisor at Sway Studios.  When he started at Sway the goal was to re- engineer a working pipeline to create even higher quality visuals with less artistic frustration.  His efforts were rewarded when he was nominated for a ‘Best Compositing in a Commercial’ award by the Visual Effects Society for his work on a set of Djarum Mezzo commercials for Joseph Kosinski.

After leaving Sway, Nederhorst helped open the doors at Speedshape LA, a sister office for the Detroit-based automotive visualization company.  Once again he was tasked with the goal of defining a pipeline and workflow for a facility, but this time, from the ground up. The facility completed its first job for Northrop Grumman in 6 weeks with 3 artists, while he set up the infrastructure from scratch.  Once again teaming up with Joseph Kosinski, he set some new standards with the work on the SAAB spec : Blackbird, which went on to win an award at the “D Show” in Detroit. During his time at Speedshape, Nederhorst has overseen the build-out of two physical facilities along with all the technology within, including a client screening room, complete with a digital intermediate pipeline.  This pipeline saw its way to final color grading on several commercials, including those from Quaker State and Ford, the latter directed by Mark Romanek.

Upon leaving Speedshape in December 2008, Robert moved to the Santa Monica offices of ReelFX as VFX Supervisor in January 2009.  While there he has brought new rendering technology and some additional pipeline to the already successful enterprise.   He’s worked on projects for clients such as SunnyD, Toyota, Schiff, Fidelity, Ferrari, Paul Micthell, and a theatrical spot for Coke/AMC which is in theaters all across the USA and was nominated for a VES Award for Best Created Environment.

From 2010-2012  Rob worked at Svengali FX on various feature film projects including Iron Man 2, Priest, The Last Airbender, and After Earth.  Once again building the pipeline from scratch and deploying hardware and software solutions for the entire infrastructure.

Bidding adieu to Svengali in 2013, Rob went to Method where he worked on a variety of commercial and film projects.

In 2014-2105 Rob got brought on board at Activision to help supervise the production of Guitar Hero Live.  The most ambitious visual effects project he had ever seen with over 360 minutes of finished visual effects.  The vfx were completed by Framestore in the UK.

Currently, Rob is at Zero VFX where he was asked to launch the Los Angeles office.