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Name: William John Porter

Have lived in Sydney, Australia my whole life. Travelled interstate and around NSW but so far not overseas.

My ambition is to one day write/produce tv series or feature films.

My creative origins include being a plastic kit modeller since the age of 6 or so and before that a keen lego and mechano builder.

A still photographer since the age of 11 and a video photographer/film maker since the age of 15. My first camera was a box brownie. I've since had a Practika SLR, a Minolta SLR and various Canon digital cameras. My video cameras included the Sony SLF1 and Video 8. My Video 8 had a waterproof housing which was used during skin-diving in Botany Bay and elsewhere. I have skin-dived in Botany Bay throughout the year using a full wetsuite over winters.

After leaving school I worked on making short films and continued doing this through the 1980s and 1990s. I wrote a number of scripts for short films after doing a scriptwriting course at WEA.

In 1979 I worked with Craig Walker n the Xenodyssey short film. Nick Stathopolous, Lewis Morley and Marilyn Pride did the practical effects. Jim Marjoram wrote the score. The studio work was done at Paddington while live action was shot at the Kurnell sand dunes.

I started work at Paper Converting in 1980 and spent much of the next 14 years as a Envelope Machinist running a Honsel envelope machine. I operated other machines such as the looseleaf printer. For 10 years I was leading hand and before Paper Converting made the Sydney employees redunant I was FOC for the PKIU.

I worked with Robert Luxford while working at Paper Converting writing scripts for short films which would be aired on the public Global television channel. These included Werewolf Blues which had been written by Robert and which I filmed.

Also during the 1980s-1990s I colaborated with both Jim Batman and Victor Kay and their video and film production companies doing weddings, events and short childrens films. For Jim Batman I also created computer animations including his logo and a flyover of an arabian city which was chroma-keyed with live action of performers on a flying carpet.

I have had many computers over my life including a Exidy Sorcerer Mk2, C64, Amiga 1000, 2000, 4000. PC Pentium 90, 256, 640, P2 and P4.

I have created a great many 3D models since the late 80s using first Sculpt3d and Modeller 3D, then Imagine on my Amiga's and later 3D Studio Max on the PC. Afterwards I moved on to using commercial models in Poser.

During this time I was a member of the Twisted Pair BBS then moved onto the Internet once it came into being first with a shell account and later a full WWW account.

I also worked with Graeme Jones and the Kinetic Energy Dance Group on experimental dance videos.

Before starting work and during the period between 1994 and 1996 I worked as a freelance computer graphics animator along with other odd jobs. During this time I created animated logos for Inteltec and Batman Film and Video. I also created a visual pitch for MAST for their Black Knight product range as well as doing beta testing for their storage and video products such as Opalvision.

In 1996 I was employed by the then Unlimited Energee to work as a cel scanner and painter on the first season of their cartoon series Crocadoo.

Unlimited Energee was the first company, at least in Australia to use computers to produce their cartoon shows as well as commercials. They used many generations of Apple Macintosh computers. They also had an in-house editing suite.

For the 2nd season of Crocadoo I was deputy digital supervisor and managed the night shift of production. During the course of each production there were usually 2 shifts, Energee often had more than 100 people working for it. The digital supervisor at that time was Branka Korac. Part of our jobs was managing batch conversion processes for the CECAPS paint and compositing programs.

Scott Chandler and I managed the move of the studio to Lane Cove in 1999 for the production of the Magic Pudding movie and then the tv shows of Wicked!, Gloria's House and Fix and Foxi. For many months the studio was producing 3 shows at once and had 4 edit suites in-house.

At the height of production in the Lane Cove Studio EE had 80 Macintosh computers and over 10 PCs. The server I managed was a SGI Origin 200. It had a 500 Gb hard drive array and a DLT autoloader for backups.

The company had 2 AVID Express workstations and a Film Composer workstation as well as a number of Final Cut Pro stations. I was able to operate all of these as well as the other edit suite equipment and patch panel. I was called upon to rebuild the AVID workstations a number of times as well as repair the Macintosh and PC workstations.

Before Energee Entertainment went into administration we created a number of pilot episodes for Gasp, MuddleHeaded Wombat and Anklebiters.

Before I left Energee I worked with the administrators PPB, organising it's physical and interlectual property.

Shortly after leaving Energee I started working with Info-onscreen Newmedia. The initial premises were at Crows Nest before moving to North Sydney, in association with McCorkell and Associates and then to the current office at Chippendale. Branka Korac and Energee's former financial controller were working for IOS at that time as well.My iniital position at IOS was office manager / production manager. I'd been brought in to make things more efficent. After time I became a Producer as well as using my software/design skills to create graphics. I have directed actors doing voice overs and liased with multinational corporations. As a producer I dealt with a number of multi-national corporations such as Pfizer and Diageo. I successfully completed a number of leftover projects while also producing my own projects.

Many of the presentations during this period were done for Toyota, The work done for Toyota was a mixture of promotional material, including a kiosk used at the Sydney Motor Show and dealer training presentations.The Toyota work was done in alliance with Bullet Marketing. I also produced a number of interactive presentations for the Volkswagen Academy, People Movers and Commercial Vehicles for their dealer training.

I also managed the mspace development team from 2006 co-ordinating the progressive updating of the mspace code and functionality. In addition I produced and managed the creation of the interactive PlanogramMate program for Diageo. I worked full time at IOS until January 2011.

Until mid 2012 I continued to work part time for IOS managing their remaining clients. Since then I have managed the Shopify website for R.G. Elsegood's fabric warehouse, photographing the fabrics and updating the site. The rest of my time is spent catching up on my modelling backlog and writing and doing odd paying jobs.