A veteran with over two decades of experience in visual effects, Amy established herself as a digital artist at ILM and has worked on major productions for directors like Martin Scorsese, M. Night Shyamalan, and Darren Aronofsky. Her cutting edge work has enlivened many of Hollywood’s most notable science fiction, action, and fantasy films, and she has remained at the forefront of today’s most innovative digital effects creations that continue to dazzle audiences worldwide.
As a digital artist, Amy was part of the creative team that brought to life the fantastic land of Wakanda and its cutting-edge technological creations. Going on to win three Academy Awards out of its seven nominations, this breakthrough Marvel adventure remains a feast for the senses.
One of Amy’s first major gigs was working as a digital paint and rotoscope artist for ILM on this beloved sci-fi comedy affectionately depicting the world of genre fandom. Balancing the look of classic Star Trek with the slick demands of modern cinema was tricky, but anyone who’s seen it will agree they pulled it off with flying colors.
The Great Gatsby
Baz Luhrmann’s opulent vision of the classic F. Scott Fitzgerald novel brought the tragic indulgence of the jazz-fueled roaring ‘20s to life, in 3D no less. The visual effects managed to capture a freewheeling party atmosphere with the camera seemingly able to capture an overwhelming amount of color and depth within the frame, echoing the romantic ambition at the heart of the story.
Amy was at the forefront of the superhero cinematic renaissance as an ILM digital artist lead on Robert Downey Jr.’s first appearance as Tony Stark. Though subsequent Marvel films have topped it in the spectacle department, this is the one that truly started it all and remains a milestone in the visual translation of comic books to film.
Now You See Me
This twisty crime thriller involving a group of renowned illusionists required a great deal of visual trickery behind the scenes as well, with the effects team including Amy tasked with making the seemingly impossible sleights of hand in the film as believable as they would be to the naked eye.