TIM WILCOX, INC.
NORTH FT. MYERS, FLORIDA

Given the fact that my father had gone to and worked for many years at USC, the tug to return to my home here in Southern California was very strong. After graduating high school, I was accepted to the film production program at USC as a freshman. I took all that I had learned about filmmaking at school and started to apply that to the 3D world. Three years later, Newtek introduced the VideoToaster for the Amiga, which had a fantastic 3D program in it called Lightwave. I started doing little flying logo projects here and there, eventually starting a company with some fellow alums from SC called Visual Purple. Sadly the business wasn't making the quick buck that these starry eyed guys had hoped it would, so they abandoned the venture with haste, leaving me to forge on. Through my work, I had met Alan Hastings, the creator of Lightwave. He and Newtek were working closely with Ron Thornton, who was doing the VFX for a new pilot movie, Babylon 5, entirely in Lightwave. Unfortunately our schedules could not mesh for the pilot, but a year later he hired me to work on Viper, which then segued into the first season of Babylon 5. After the first season of B5, I worked on many different little projects (most are on this site). Ultimately, while I was working on Space: Above and Beyond, I got a call from Ed Verreaux to come work for him on the film Contact. This moved me from VFX to the Art Department in the capacity as a Concept Illustrator. From there on it has been an amazing adventure of being paid to learn and work with many of the people who made the films that inspired me to want to work in this business in the first place - a truly humbling feeling. In addition to the feature film work, I also work on product design and do agency work for film and game promotional material. Since 2007 I have teamed up with my old college classmates Hugh Milstein and Jon Moeller at DigitalFusion to start a creative division that handles new media needs from moving media on tablets to CGI for photography/motion to solving client's needs in digital publishing. It is amazing to me how the technology has grown to broaden the scope of tools that we have available to us to help tell stories. I am very lucky to be able to do this and always eager for the challenge of the next gig. Thanks for reading all this and once again, enjoy the site! Given the fact that my father had gone to and worked for many years at USC, the tug to return to my home here in Southern California was very strong. After graduating high school, I was accepted to the film production program at USC as a freshman. I took all that I had learned about filmmaking at school and started to apply that to the 3D world. Three years later, Newtek introduced the VideoToaster for the Amiga, which had a fantastic 3D program in it called Lightwave. I started doing little flying logo projects here and there, eventually starting a company with some fellow alums from SC called Visual Purple. Sadly the business wasn't making the quick buck that these starry eyed guys had hoped it would, so they abandoned the venture with haste, leaving me to forge on. Through my work, I had met Alan Hastings, the creator of Lightwave. He and Newtek were working closely with Ron Thornton, who was doing the VFX for a new pilot movie, Babylon 5, entirely in Lightwave. Unfortunately our schedules could not mesh for the pilot, but a year later he hired me to work on Viper, which then segued into the first season of Babylon 5. After the first season of B5, I worked on many different little projects (most are on this site). Ultimately, while I was working on Space: Above and Beyond, I got a call from Ed Verreaux to come work for him on the film Contact. This moved me from VFX to the Art Department in the capacity as a Concept Illustrator. From there on it has been an amazing adventure of being paid to learn and work with many of the people who made the films that inspired me to want to work in this business in the first place - a truly humbling feeling. In addition to the feature film work, I also work on product design and do agency work for film and game promotional material. Since 2007 I have teamed up with my old college classmates Hugh Milstein and Jon Moeller at DigitalFusion to start a creative division that handles new media needs from moving media on tablets to CGI for photography/motion to solving client's needs in digital publishing. It is amazing to me how the technology has grown to broaden the scope of tools that we have available to us to help tell stories. I am very lucky to be able to do this and always eager for the challenge of the next gig. Thanks for reading all this and once again, enjoy the site! Given the fact that my father had gone to and worked for many years at USC, the tug to return to my home here in Southern California was very strong. After graduating high school, I was accepted to the film production program at USC as a freshman. I took all that I had learned about filmmaking at school and started to apply that to the 3D world. Three years later, Newtek introduced the VideoToaster for the Amiga, which had a fantastic 3D program in it called Lightwave. I started doing little flying logo projects here and there, eventually starting a company with some fellow alums from SC called Visual Purple. Sadly the business wasn't making the quick buck that these starry eyed guys had hoped it would, so they abandoned the venture with haste, leaving me to forge on. Through my work, I had met Alan Hastings, the creator of Lightwave. He and Newtek were working closely with Ron Thornton, who was doing the VFX for a new pilot movie, Babylon 5, entirely in Lightwave. Unfortunately our schedules could not mesh for the pilot, but a year later he hired me to work on Viper, which then segued into the first season of Babylon 5. After the first season of B5, I worked on many different little projects (most are on this site). Ultimately, while I was working on Space: Above and Beyond, I got a call from Ed Verreaux to come work for him on the film Contact. This moved me from VFX to the Art Department in the capacity as a Concept Illustrator. From there on it has been an amazing adventure of being paid to learn and work with many of the people who made the films that inspired me to want to work in this business in the first place - a truly humbling feeling.