Eric Barba

Eric Barba is a visual effects supervisor for television, film, and commercial advertising.  After studying at the Art Center College of Design, Barba began his career at Steven Spielberg's Amblin Imaging as a digital artist on SeaQuest 2032 and Sliders. In 1996, he joined Digital Domain as a digital artist on The Fifth Element before working his way to CG supervisor on Supernova and finally to visual effects supervisor for David Fincher's Zodiac.  Barba earned a reputation for high-end visual effects, working closely with directors like Fincher and Joseph Kosinski on film and advertising projects and directing commercials for Nike, American Express, and Honda.  He won the 81st Academy Awards for the film The Curious Case of Benjamin Button, in the Best Visual Effects category. He shared his Oscar with Craig Barron, Burt Dalton and Steve Preeg.  In 2013, Barba was promoted to Chief Creative Office/Senior Visual Effects Supervisor at Digital Domain 3.0, the latest iteration of the visual effects studio. Barba continued to oversee the company's Los Angeles studio until leaving Digital Domain to operate as a freelance visual effects supervisor in 2015.  Description above from the Wikipedia article Eric Barba, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Additional information:

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Additional Visual Effects:
2023  The Killer

CG Supervisor:
2000  Supernova
2023  The Killer

Visual Effects Supervisor:
2000  Supernova
2007  Zodiac
2008  The Curious Case of Benjamin Button
2010  TRON: Legacy
2011  The Girl with the Dragon Tattoo
2013  Oblivion
2014  Gone Girl
2017  Only the Brave
2019  Terminator: Dark Fate
2023  The Killer
2024  Alien: Romulus

About the Movie Section

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:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

  • If you would like your profile removed from this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's gone from their site, it should soon be gone from this site.
  • If you would like to correct movie data on this site, please contact the source of this data directly, TheMovieDB. My assumption is: once it's corrected on their site, it should soon be corrected on this site.
  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

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.