Paul Griffin (born August 18, 1960 in Ontario, Canada) worked on the visual effects creature animation for the first two Star Wars prequels, as well as directing the animation for Star Wars: Bounty Hunter cinematic sequences for the game by LucasArts. For Star Wars: The Phantom Menace, Griffin helped visualize and produce seven deleted scenes that were completed specifically for the DVD including directing the second lap of the Pod Race sequence. All seven sequences were included as easter egg extras on the DVD. This was done as an ILM summer project and reviewed with George Lucas in September at the screening room in the Skywalker Ranch main house before the DVD's official release on October 16, 2011. He was responsible for supervising all droid animation from the middle to the end of Star Wars: Episode II Attack of the Clones including battle scenes as well as the animation for much of the Gungan parade at the end of Star Wars: Episode I The Phantom Menace. His other well known contributions include work on Jurassic Park III, The Mummy Returns, The Lord of the Rings: The Return of the King, visual development for King Kong and supervision of the facial animation seen in The Curious Case of Benjamin Button. Griffin rekindled his connection to cartoon animation with a contribution to Happy Feet Two in 2011.

While at Industrial Light and Magic, Griffin was responsible for some notable innovations that helped streamline work flow.

One useful concept was Cuts, a production level tool that allowed artists to drop their work-in-progress tests directly into a master pre-defined edit on demand, so that they could check continuity and pacing of their shots in context of a film without having to wait for dailies to assess their work. The features of Cuts were found to be so beneficial to the film making process as well as timesaving, they were eventually incorporated into Loupe, the primary viewing tool used throughout the ILM facility and in time the same concepts have been adopted by other studios in the visual effects industry.

In 1996, Griffin also suggested a tool to the CG Commericals Department that would allow ILM to review shots simultaneously in studio and at remote client locations by using proprietary software running over the internet to control playback at each location. Today a similar commercial product exists with this function known as Cinesync.

Pointing out that it was often difficult to see or be seen in tiny screening rooms, Griffin suggested that ILM develop bleachers, or "stadium seating" and this has become standard practice even in tiny theatres.

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