LEWIS TELFER
Versatile production specialist with over 9 years experience delivering high end facial animation. Proven expertise in leading remote teams, supervising shoots across the UK, Europe and the US, and crafting bespoke pipelines for 30+ AAA game and film projects.
Selected Work
Call of Duty: Black Ops 6
Using DI4D’s PURE4D 2.0 pipeline, I oversaw the facial capture and animation team responsible for the delivery of over 10,000 seconds of facial animation across 21 characters for both in-game characters and cinematics.
My role focused on managing the motion editing team, troubleshooting pipeline challenges, and tailoring workflows to meet the specific needs of Treyarch and Raven Software. I also reviewed and approved final data before delivery, maintaining quality and consistency across 21 characters.
Client
Activision | Treyarch | Raven Software
Year
2024
Call of Duty: Modern Warfare III
For Modern Warfare III, I oversaw the facial capture pipeline that brought both returning characters and new cast members to life. I concentrated on refining workflows within the DI4D PURE4D system to handle large volumes of performance data efficiently.
Alongside managing the motion editing team, I worked closely with Sledgehammer Games and Blur Studio to respond quickly to evolving project requirements and keep delivery schedules on track.
Client
Activision | Sledgehammer Games | Blur Studio
Year
2023
F1 2025: Braking Point 3
On this five day performance capture shoot, I was responsible for operating and monitoring the head-mounted camera systems, ensuring reliable data capture across multiple actors. Back in the studio, I led the motion editing team and oversaw the DI4D PURE4D pipeline, which utilised advanced machine learning to efficiently process large volumes of high fidelity performance data.
A key part of my role was working closely with Realtime UK to integrate our facial capture into their production pipeline. This involved aligning deliverables with their creative and technical requirements, problem solving workflow challenges, and ensuring the final animation retained both the accuracy of the actors’ performances and the realism expected from a AAA title.
Client
EA | Codemasters | Realtime UK
Year
2025
F1 2023: Braking Point 2
I supervised the facial capture during this five day performance capture shoot for Braking Point 2, overseeing the operation of head mounted cameras and coordinating with the wider on set team to capture reliable, high quality data. Back in the studio, I managed the motion editing team and directed DI4D’s PURE4D machine learning pipeline to process and refine performances for six key characters.
A major achievement on this project was the delivery of over one hour of facial animation for cinematics, produced to the high visual standard expected from Codemasters’ F1 series. I also worked closely with Realtime UK to ensure our capture data was integrated smoothly into their production pipeline, aligning deliverables with both their creative goals and technical requirements.
Client
EA | Codemasters | Realtime UK
Year
2023
Love, Death & Robots
As Lead Motion Editor, I worked across five episodes of Netflix’s award winning anthology Love, Death & Robots, overseeing the clean up and refinement of motion capture data to ensure the highest possible fidelity in the final animation. Each episode presented its own technical and stylistic challenges, ranging from high energy creature driven performances (Shapeshifters) to the subtle realism required for emotionally charged storytelling (Beyond the Aquila Rift).
In addition to my motion editing responsibilities, I was directly involved on set for Helping Hand. This included two key sessions: first, capturing 4D scan data used to build rig shapes and performance datasets, and later, running head mounted cameras during a full performance capture shoot for the lead character. My role ensured that both the scanning and capture pipelines provided production ready data.
Client
Blur Studio | Unit Image | Axis Animation | Sony Imageworks
Year
2019 - 2022
The Quarry
I contributed to the project early on by capturing preliminary 4D scan data used in Digital Domains ‘Masquerade’ pipeline.
Working closely with Digital Domain, I also ensured our motion editing process preserved the subtlety of the actors’ performances across 15 characters, aligning with the studio’s goal of delivering film quality realism in an interactive format. My role bridged both technical supervision and hands on editing.
Client
Supermassive Games | Digital Domain
Year
2022
Venom: Let There Be Carnage
I was on set at Leavesden Studios for two intensive capture sessions, responsible for acquiring high fidelity 4D range of motion datasets from several of the main cast.
Following the shoot, I headed the team tasked with processing and cleaning this data to meet DNEG’s production requirements. The project coincided with the onset of the Covid-19 pandemic, which meant transitioning the team to remote working under tight deadlines. I helped coordinate this shift, establishing new workflows that allowed us to continue delivering at the same level of quality despite the disruption.
This role combined hands on capture supervision with team leadership and problem solving in a rapidly changing environment.
Client
Marvel | Sony Pictures | Double Negative
Year
2021
If you’d like to see the full list of credits and projects that I’ve worked on over the years, you can check out my IMDB page here.
Skilled at bridging the creative technical divide, I thrive in remote production workflows and cross disciplinary teams.
Experience
Facial Capture Supervisor
Oct 2020 - Sep 2025
DI4D
As Facial Capture Supervisor at DI4D, I reported directly to the Chief Operating Officer in a role created specifically for me to enable the company’s expansion. Shifting my focus from day to day mocap cleanup toward research, development and team management, I worked closely with the engineering team to pioneer DI4D’s PURE4D technology and later explore new machine learning and neural solutions for facial rigging and animation. Alongside this R&D remit, I was responsible for leading a growing department, supervising both production shoots and a team of motion editors across multiple AAA games and feature films.
Key Responsibilities:
Managed a team of up to 15 motion editors across simultaneous AAA game and feature film projects, ensuring deadlines and quality standards were consistently met.
Oversaw recruitment, onboarding, and training to build a high performing department.
Acted as primary liaison between animation, engineering, and client teams, ensuring project requirements were translated into clear workflows and deliverables.
Supported production by tracking progress, flagging risks early and reallocating resources to meet shifting priorities.
Oversaw end to end production of facial capture shoots, from hardware setup and scheduling to on set supervision and client management.
Built and optimised production pipelines, improving turnaround times and enabling bespoke solutions for client requirements.
Coordinated remote production since 2020, maintaining team cohesion, efficiency and delivery.
Key Projects:
Call of Duty (Black Ops 6, Modern Warfare II & III), Venom: Let There Be Carnage, F1 Braking Point (2021, 2023 & 2025), Argylle and Haunted Mansion
Lead Motion Editor
Jun 2018 - Oct 2020
DI4D
As Lead Motion Editor, I served as the senior member of the motion editing team, reporting directly to the Chief Operating Officer. This period marked a time of significant growth for the department, and I was responsible for expanding the team, shaping recruitment and training processes, and building workflows that could adapt to the varied demands of film and AAA game projects. Alongside overseeing animation delivery, I played a key role in defining pipelines to meet project specific needs and frequently supported capture shoots as an on set technician, ensuring seamless integration between production and post.
Key Responsibilities:
Led a team of motion editors across multiple high profile projects, running daily review sessions to maintain quality standards and ensure timely delivery.
Partnered with engineering teams to guide the development of motion tracking tools, ensuring alignment with production needs and project requirements.
Worked directly with clients to customise pipelines and deliverables, balancing technical feasibility with project objectives.
Scoped, scheduled, and prioritised facial animation tasks ensuring on time delivery within tight client deadlines.
Acted as on set motion capture technician, supporting shoot logistics and ensuring smooth integration with post-production.
Recruited and built the motion editor team, shaping workflows and training processes to scale with growing project demand.
Key Projects:
The Quarry, Morbius, Bloodshot, Infinite, Love, Death & Robots (5 episodes) and Call of Duty: Modern Warfare
Senior Motion Editor
Oct 2017 - Jun 2018
DI4D
As Senior Motion Editor, I took on increased responsibility for both project delivery and team mentorship, becoming a key point of contact between the motion editing team, production, and engineering. I oversaw complex sequences on high profile projects, ensuring facial performances were faithfully preserved while meeting the stylistic and technical requirements of clients. Beyond hands on editing, I provided guidance and feedback to junior editors and supported the development of new tools that improved efficiency across the team.
Key Responsibilities:
Delivered high quality facial animation for games and film, ensuring data met client and project standards.
Supported on-set capture sessions and collaborated with engineers to refine workflows.
Assisted in onboarding and training new team members, supporting their development and maintaining consistency across outputs.
Key Projects:
IT: Chapter 2, Far Cry 5 (Official Resistance Trailers), The Kid Who Would Be King and Deadpool 2
Motion Editor
Jan 2017 - Oct 2017
DI4D
Joining DI4D as a Motion Editor, I was responsible for the detailed cleanup and refinement of facial capture data, ensuring high quality results for client delivery. This role gave me hands on experience with the company’s proprietary pipelines and tools, while also exposing me to the demands of AAA games and feature film production. Working closely with senior editors, I gained a strong grounding in motion editing best practices, laying the technical and creative foundation for my progression into more senior positions.
Key Responsibilities:
Assisted senior motion editors in processing and cleaning facial capture data.
Gained experience in facial capture pipelines and contributed to early client deliverables.
Key Projects:
Bladerunner 2049 and Justice League
Nuke Prep Artist
Nov 2016 - Feb 2017
FixFX
Specialised in various vfx prep work and clean-up techniques such as tracking, rotoscoping, paint work, keying and basic compositing.
Key Projects:
Gap Year
Whether coordinating multi disciplinary teams, adapting workflows to evolving project needs or liaising directly with clients, my focus is always on delivering consistent, high-quality results.
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My background in animation and years working within high performing teams have given me a strong technical foundation, while also allowing me to develop the production and project management skills required to deliver complex projects successfully.
Collaborating with a wide range of clients has sharpened my ability to adapt to different studio environments across the UK, Europe and the US. Over time, I progressed through senior and lead positions before stepping into my most recent role as Facial Capture Supervisor.
Along the way, I’ve not only overseen major AAA and film projects, but also had the privilege of building and mentoring a team, shaping pipelines, and collaborating with engineers to push the boundaries of what facial capture can achieve.
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I’ve worked extensively with both industry-standard and proprietary tools, and I’m quick to adapt to new technologies. My core software skills include:
Maya / 3DS Max – motion editing, rigging support, and pipeline integration.
Unreal Engine / Metahuman – facial animation workflows and asset integration.
Adobe Creative Suite – supporting production and presentation needs.
Python – growing proficiency in scripting and automation for workflow improvement.
Production Tools – Production Tools – Trello, Trac, Jira and ShotGrid for project tracking. Slack, Teams, Sharepoint for team coordination.
I also have significant experience with bespoke in-house systems, working closely with engineering teams to design and test solutions tailored to production needs.
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Escape Studios: 2016
Compositing for Visual EffectsGlasgow Caledonian University: 2012 - 2016
1st Class BA/Hons 3D Computer Animation -
Beyond production, creativity continues to be a big part of my life. I’m particularly passionate about photography and videography, where I enjoy capturing the landscape around central Scotland, which I’m lucky to call home! This love for cameras is ultimately what led me down the career path that I have been pursuing for the last 9 years.
I also have a long standing love of art, which keeps me connected to the fundamentals of visual storytelling, as well as music, especially playing guitar. Alongside this, I enjoy cycling and mountain biking, which helps me balance the demands of creative work with time spent outdoors, recharging both mentally and physically.
