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Talking with new Shade VFX NY executive producer John Parenteau

By Randi Altman

John Parenteau, who has a long history working in visual effects, has been named executive producer of Shade VFX’s New York studio. Shade VFX, which opened in Los Angeles in 2009, provides feature and television visual effects, as well as design, stereoscopic, VR and previs services. In 2014, they opened their New York office to take advantage of the state’s fairly aggressive tax incentives and all that it brings to the city.

Shade-1“As a native New Yorker, with over a decade of working as an artist there, the decision to open an office back home was an easy one,” explains owner Bryan Godwin. “With John coming on board as our New York executive producer, I feel our team is complete and poised to grow — continuing to provide feature-film-level visuals. John’s deep experience running large facilities, working with top tier tent-pole clients and access to even more potential talent convinced me that he is the right choice to helm the production efforts out east.”

Shade’s New York office is already flush with work, including Rock that Body for Sony, The OA and The Get Down for Netflix, Mosaic for HBO and Civil for TNT. Not long ago, the shop finished work on Daredevil and Jessica Jones, two of Marvel’s Netflix collaborations. As John helps grow the client list in NYC, he will be supporting NY visual effects supervisor Karl Coyner, and working directly with Shade’s LA-based EP/VP of production Lisa Maher.

John has a long history in visual effects, starting at Amblin Entertainment in the early ‘90s all the way through to his recent work with supercomputer company Silverdraft, which provides solutions for VFX, VR and more. I’ve known him for many years. In fact, I first started spelling John Parenteau’s name wrong when he was co-owner and VFX supervisor at Digital Muse back in the mid to late ‘90s — kidding, I totally know how to spell it… now.

We kept in touch over the years. His passion and love for filmmaking and visual effects has always been at the forefront of our conversations, along with his interest in writing. John even wrote some NAB blogs for me when he was managing director of Pixomondo (they won the VFX Oscar for Hugo during that time) and I was editor-in-chief of Post Magazine. We worked together again when he was managing director of Silverdraft.

“I’ve always been the kind of guy who likes a challenge, and who likes to push into new areas entertainment,” says John. “But leaving visual effects was less an issue of needing a change and more of a chance to stretch my experience into new fields. After Pixomondo, Silverdraft was a great opportunity to delve into the technology behind VFX and to help develop some unique computer systems for visual effects artists.”

Making the decision to leave the industry a couple years ago to take care of his mother was difficult, but John knew it was the right thing to do. “While moving to Oregon led me away from Hollywood, I never really left the industry; it gets under your skin, and I think it’s impossible to truly get out, even if you wanted to.”

Parenteau realized quickly that the Portland scene wasn’t a hot-bed of film and television VFX, so he took the opportunity to apply his experience in entertainment to a new market, founding marketing boutique Bigfoot Robot. “I discovered a strong need for marketing for small- to mid-sized companies, including shooting and editing content for commercials and marketing videos. But I did keep my hand in media and entertainment thanks to one of my first clients, the industry website postPerspective. Randi and I had known each other for so many years, and our new relationship helped her out technically while allowing me to stay in touch with the industry.”

John’s mom passed over a year ago, and while he was enjoying his work at Bigfoot Robot, he realized how much he missed working in visual effects. “Shade VFX had always been a company I was aware of, and one that I knShade-2ew did great work,” he says. “In returning to the industry, I was trying to avoid landing in too safe of a spot and doing something I’d already done before. That’s when Bryan Godwin and Dave Van Dyke (owner and president of Shade, respectively) contacted me about their New York office. I saw a great opportunity to help build an already successful company into something even more powerful. Bryan, Lisa and Dave have become known for producing solid work in both feature and television, and they were looking for a missing component in New York to help them grow. I felt like I could fill that role and work with a company that was fun and exciting. There’s also something romantic about living in Manhattan, I have to admit.”

And it’s not just about building Shade for John. “I’m the kind of guy who likes to become part of a community. I hope I can contribute in various ways to the success of visual effects for not only Shade but for the New York visual effects community as a whole.”

While I’ll personally miss working with John on a day-to-day basis, I’m happy for him and for Shade. They are getting a very talented artist, who also happens to be a really nice guy.

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