Lewis Andrews’ screen credits on Hollywood Feature Films, Netflix Movies, TV Series, Factuals, and Documentaries.
Alcon Entertainment
Paramount Pictures
Eon Productions
Universal Pictures
Sony Pictures
Netflix
Paramount Pictures
Eon Productions
Universal Pictures
Sony Pictures
Netflix
Netflix
BBC Studios
Netflix
HBO
CBS Studios
Paramount Pictures
Amazon Studios
As Director at Wonderfilm Pictures, Lewis Andrews has had the privilege of collaborating with numerous top-tier industry professionals on some of the most iconic film and streaming shows in history. From Paramount’s Mission: Impossible- Dead Reckoning Part One starring Tom Cruise, to Netflix’s 3 Body Problem, Lewis regularly travels for shoots in international locations or film studios around the world.
Lewis has worked with large-scale production crews as well as small, tight-knit teams. Collaborating across every department, Lewis has built strong relationships with some of the best studios in the industry. These connections often become repeat clients on multiple shows.
Lewis Andrews, founder of Wonderfilm Pictures, has worked closely with VFX Supervisors who pioneered some of the world’s earliest CGI on films like The Terminator (1984) and the Oscar-winning film Gladiator. He has also worked with VFX Producers on the award-winning show Game of Thrones.
Lewis has cultivated an extensive network of VFX relationships in the film and TV industry with VFX Producers, Supervisors, On-Set Crew, Vendors, and VFX Artists.
Lewis’s on-set role as Lead VFX Data Wrangler primarily supports the contributions of the VFX department; from artists and compositors to 2D and 3D specialists, riggers, and lighters. Lewis’s background in various creative fields and his passion for detailed workflows enrich his roles within VFX.
Lewis has worked closely with XM2, one of the world’s largest and most successful aerial cinematography companies, on productions such as Mission: Impossible – Dead Reckoning Part One, James Bond: No Time To Die, Fast & Furious 9, Cinderella, and Secret Invasion – Marvel. Managing heavy-lift aircraft for cinematic purposes requires a team of experienced professionals to pilot, operate, and maintain the drone’s integrity during use.
Lewis works on the technical aspects of the camera gimbal and the drone. Whether flying in close proximity to cast members, such as Tom Cruise in Mission: Impossible, or capturing action-packed stunts with extensive pyrotechnics in Fast & Furious 9, the role demands versatility and the ability to respond swiftly to the fast-paced demands of shooting environments.
XM2 not only manufactures state-of-the-art drones in-house, with their global in-house engineers innovating in the motion picture industry. Lewis has engaged with XM2 in various camera tech roles, including work on VFX arrays that XM2 has flown.
Throughout Lewis’s freelance career he has often utilised his passion for camera and cinematography to shoot and direct his own Music Videos, Commercials and branded content for clients such as Nike, Puma, and Sony Music. His experience has been valuable in the Film and TV world, particularly on VFX plate shoots where he has been tasked with capturing additional photography alongside the DOP and Visual Effects Supervisors.
Lewis has shot some exciting projects with a range of RED Digital Cinema cameras; the RED KOMODO-X and the RED DSMC2 HELIUM 8K. His other go-to cameras have been the Sony VENICE and Sony FX6.
As well as a natural handheld style which Lewis leans towards, he has always loved steadicam as an art of camera movement. He has developed skills for camera operating on a hand-held gimbal.
His first gimbal was the DJI Ronin which he used on many of his freelance shooting projects. His gimbal operating skills were first properly recognised in his short film The Princess of Symmetry. This film captured the attention of Sony Music who later hired him to shoot a music video for eclectic grime group Vibbar for Sweden.
Within his role as Lead VFX Data Wrangler, Lewis Andrews captures all the necessary on set data required by VFX artists to create stunning visuals for feature films, TV, factuals, and documentaries.
Lewis shoots and processes HDRIs using equipment like the Nodal Ninja 5 and PTGui software, ensuring high-quality 360° and panoramic photography. He uses 50% chrome/50% matte grey VFX Balls for lighting references, which Wonderfilm Pictures produces in-house for consistent results.
For photogrammetry, Lewis employs a variety of equipment, from Lidar to drones, to gather crucial data for reconstructing environments and assets. He emphasises meticulous data management, having developed sophisticated FileMaker systems to organise and track data efficiently, boosting on-set productivity.
Lewis customises FileMaker Pro databases to log VFX work, including slates, camera notes, measurements, and on-set diagrams. For post-production, he designs databases to manage assets and file paths on SSDs or servers, and track VFX shots, vendor bids, and daily reports for VFX producers.
Lewis is also committed to lens gridding, creating detailed reports from lens grid shoots that capture necessary data for editorial and tracking. He ensures precision in every capture, considering factors like dolly length, floor flatness, light distribution, and focus requirements.
Lewis has had on set VFX Supervisor responsibilities for Netflix, Amazon, and BBC Science productions.
Lewis has taken on on-set VFX Supervisor roles such as directing his own sprite units with multiple background supporting artists, managing and shooting blue screen elements, and ensuring the VFX department meets creative criteria and briefs.
Lewis has collaborated with well-known VFX DOPs and aerial cinematographers to capture background plates. Lewis often works on plate shoots that fulfill narrative requirements in Visual Effects shows with full CG creatures and mixed CG/live-action sequences.
His expertise extends significantly with experience in operating cinema cameras such as RED and Sony, adding value to smaller-scale crews, including television projects.
Lewis is dedicated to streamlining data management, ensuring that information is well-organised and quickly accessible. He has developed advanced FileMaker systems to manage and track data efficiently, significantly enhancing on-set productivity.
Lewis builds custom FileMaker VFX databases to log on-set VFX work, including capturing slates, camera notes, measurements, VFX details, and diagrams or photos.
In post-production, he builds FileMaker databases to name and track assets and files in the VFX pipeline. He can also create databases to track VFX shots, manage vendor bids, and produce daily reports for the VFX producer. This meticulous data management facilitates smoother workflows and more efficient post-production processes for feature films and TV shows.
Lewis worked in the locations department for the productions Jolt (Amazon Studios) and Fast & Furious 9 (Universal Studios).
The locations department secured permissions and ensured compliance with legal standards, aligning the filming locations with the project’s needs.
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