James D. Fleming (MA) is the founder of Ombrium, a VFX studio formed over a decade ago (ombrium.com), working directly with many clients including Paramount, Lucasfilm, Disney, Sony Pictures and Amazon-MGM studios.
Before creating the company he worked for numerous VFX studios such as Framestore, Cinesite and The Senate at Twickenham Film Studios, where at the former he was proud to have been a lead artist on the VFX Oscar/Bafta winning film 'Gravity', and at the latter he was proud to have been a Vendor VFX Supervisor working on 'The Martian' for Richard Stammers, who was the Production VFX Supervisor for Director Sir Ridley Scott.
Libby Jackson, Science Museum
Libby Jackson OBE is one of Britain’s leading experts in human spaceflight, having spent nearly two decades working at the forefront of the field. Libby joined the Science Museum in March 2025, where she plays a key role in the museum’s space-related public engagement activities while supporting the museum’s curators to acquire new space technologies for the national collection and deepening the museum’s relationships with space agencies around the globe.
Libby spent seven years working at the European Space Agency’s Mission Control for the International Space Station in a number of roles including her dream job as a Columbus Flight Director. In 2014 she joined the UK Space Agency, where she managed the UK’s hugely successful education and outreach programme for Tim Peake’s Principia mission to the International Space Station.
Chris Lawrence, VFX Supervisor
Since winning an Oscar for Gravity, Chris has been nominated for afurther three Academy Awards. His work has taken him all over the cosmos and much of planet earth, and as a Production VFX Supervisor he has collaborated closely with the likes of Marc Forster, George Clooney, John Krasinski and Her Majesty Queen Elizabeth II.
Chris enjoys the epic variety of challenges each project brings, but a common thread unites his work: he loves to collaborate with film makersand animators to make the impossible possible. This often involves developing or adapting the latest technology to suit the unique needs ofthe production, while passionately protecting the authenticity and creative goals central to the film’s storytelling.
Over the years this has led him to pioneer techniques in virtual production, simulation and performance capture, as well as embracing analogue visualisation techniques using puppets and stunt actors forvisceral, grounded visual effects shots that are proudly invisible.Whether it is becoming an expert in orbital physics, beloved bears, or indestructible London taxis, Chris brings an enthusiasm and sensitivity tothe work that shines through in every shot.
Prof. Olivier Shorttle, Cambridge University
Oliver Shorttle is the Professor of Natural Philosophy at the University of Cambridge’s Institute of Astronomy and Department of Earth Sciences. Oliver investigates what enabled life to emerge and proliferate on Earth and how we might discover life elsewhere
Matt Sloan has spent the last 30 years spitting in the face of physics in the name of cheap Hollywood thrills. As a special effects artist and visual effects supervisor, he’s worked on over 55 productions, including The Matrix trilogy, Avatar, The Martian, Prometheus, The Predator, and X-Men: Days of Future Past and Apocalypse.
He also got to wield a lightsaber in Star Wars: Attack of the Clones, which was a heap of fun. He also got to die horribly in Star Wars: Revenge of the Sith. Which was also fun.
Over the years, Matt has been yelled at by hundreds of people, including James Cameron, Ridley Scott, Peter Jackson, George Lucas, and the Wachowskis.
He firmly contends that if his job were 9 to 5, it would be the best job on earth.
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