Valerie Delahaye

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Most Recent Affiliation(s):

  • BUF Compagnie

Other Affiliation(s):

  • BUF LA


  • SIGGRAPH 2003

    Valerie Delahaye, General Manager of Buf LA, came from France 16 years ago with the ambition of becoming a graphic designer. She began working on 3D using a BOSCH 2000, which by now probably belongs to a museum! She was then trained at the company Softimage where she demonstrated new software to clients. She then went to CBS and worked on movie openings before joining the team at R. Greenberg and Associates working extensively on videos, films and commercials. After Greenberg closed down its film division, Valerie went to Disney Buena Vista Studios. In 1994, she accepted an offer at Digital Domain as a 3D manager for the film, video and commercial department. There, she worked on films such as: Dante’s Peak, The 5th Element, Titanic and Red Corner.

    Now, Valerie works for BUF, L.A as a Production Supervisor. BUF is an award-winning company, well known as a trendsetter both artistically and technologically. The company started using photogrametry and stereoscopy ten years ago in works such as: the commercial SNCF, the video “Like a Rolling Stone” and the movie The City of Lost Children. BUF was the first to use mental image rendering system, which allowed them to create beautiful and realistic images (ie. The Flea for The City of Lost Children). BUF’s latest work in the U.S includes the MasterCard Campaign, The Paramount logo, as well as the movies Fight Club, The Cell, Panic Room, One Hour Photo, and Human Nature. With BUF, Valerie went back to her first love, which is a combination of art and technology.

    “This is one of the most important topics too often disregarded. In VFX we have a very difficult task, we need to be artists and technicians. We are in a visual industry and we are surrounded by artists, producers and visual fx supervisors that sometimes cannot recognize major visual symbols, not to mention styles or artists because they got a very good technical background but did not get an artistic education. Directors are often very visual and speak in metaphors or explain their ideas quoting famous artists or cinematographers. They feel very uneasy when they see the team of digital artists in front of them with a completely blank look on their faces.”

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