A work in constant progress (and occasional regress).
Alias:
Matthew Butler
Matthew E. Butler is a distinguished senior visual effects supervisor with multiple industry accolades, including VES, BAFTA, and Academy Award nominations. With a master's degree in Aeronautics and Astronautics from the Massachusetts Institute of Technology, Matthew uses his unique perspective to craft believable, photoreal visual effects based on real-world physics. For almost 30 years, Matthew has contributed his technical and artistic expertise to the visual effects of over 20 full-length feature films at Digital Domain. He is currently the production-side VFX supervisor for an upcoming Netflix film. Prior to this, Matthew served as the production-side visual effects supervisor on the Sony Pictures Entertainment film "Morbius,” directed by Daniel Espinosa. In 2014, Matthew was tapped by Director Steven Spielberg to create the gritty reality of 2045 Ohio in the film “Ready Player One,” for which he received OSCAR, BAFTA, and VES nominations. During his long career at the award-winning studio, Matthew has worked on some of the most iconic films of our age with esteemed filmmakers like James Cameron on “Titanic,” Ron Howard on “Apollo 13,” and David Fincher on “Fight Club.” His work on "The Day After Tomorrow" won him a VES award due to the film's cutting-edge water work that employed volumetric and particulate solutions to complex simulations that had never been done before. His work on “Transformers: Dark of the Moon” also earned him an Academy Award nomination. In addition to Steven Spielberg, James Cameron, Ron Howard, and David Fincher, Matthew has also worked with such talented directors as Michael Bay, Clint Eastwood, and Chris Columbus. In addition to his many accolades, Matthew is known for being a well-rounded VFX supervisor who possesses extensive post-production and on-set experience. Throughout his career as a visual effects supervisor, Matthew has relied uniquely on his photographic and scientific backgrounds as part of his creative process. In addition to the M.S. in Aeronautics and Astronautics from the Massachusetts Institute of Technology, Matthew holds a B.S. in Aeronautical Engineering from the University of Manchester, UK. He is a member of the Academy of Motion Picture Arts & Sciences as well as a member of the British Academy of Film and Television Arts. Matthew is meticulous and relentless in his pursuit of crafting visually compelling storytelling. One of the anchors of the Digital Domain artistic team, he consistently fosters a level of quality and creativity that makes everyone around him strive for perfection and innovation.
Digital Effects Supervisor:
2001 A Beautiful Mind
Visual Effects Supervisor:
2001 A Beautiful Mind
2006 Letters from Iwo Jima
2011 Transformers: Dark of the Moon
2013 Ender's Game
2015 Pixels
2018 Ready Player One
2022 Morbius
2025 The Electric State
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.