With over 20 years of experience in the industry, Cameron Widen’s career in visual effects encompasses expertise in both previsualization and layout. Currently, he is leading a team as Head of Layout at Image Engine.
After graduating from CDIS (now called the Art Institute of Vancouver) in the spring of 2003, Cameron’s first job was previsualization on I, Robot for Image Engine in the studio’s early days when the team was only 25 strong and mostly working on television effects. He then worked on Stargate: Atlantis and Dead Like Me before moving on to other animation studios in Vancouver doing more previz work, as well as camera and layout duties for Saturday morning-style CG cartoons.
Cameron returned to Image Engine in 2008 to head the film previsualization team and has been with the company ever since, where he is now Head of Layout.
His work touches countless projects at Image Engine including The Mandalorian season 1-3, Willow, Fantastic Beasts: The Secrets of Dumbledore, Moon Knight, The Book of Boba Fett, Snowpiercer seasons 2 & 3, Mulan, Bloodshot, Sextuplets, Spider-Man: Far from Home, Out of the Cradle, Overlord, Kin, Skyscraper, Lost in Space, Tully, Kingsglaive: Final Fantasy XV, The Last Witch Hunter, Jurassic World, Chappie, Teenage Mutant Ninja Turtles, Lone Survivor, R.I.P.D., White House Down, Immortals, The Thing, The Twilight Saga: Eclipse, District 9, and many more.
His career highlights at Image Engine include: leading a large previsualization team to work out key sequences in Rise of the Planet of the Apes, working on Elysium from the earliest stages of storyboards all the way to the very last shot, as well as pitching shot ideas that were incorporated into the film, and more recently, navigating the logistical challenges of the final season of Game of Thrones, for which Image Engine won an Emmy Award.