With more than 20 years of experience, Lon has contributed a vast amount of visual effects to film and television as an artist, VFX Supervisor, and former CEO of the award winning VFX company Intelligent Creatures.
Inspired by the magic of Toy Story, Lon attended the Vancouver Film School with the single goal of opening up his own VFX studio. As he built his resume, he became dissatisfied with working on VFX for TV, and set his sights on feature films. He became a VFX generalist, working in animation, lighting, compositing and modelling, while using a vast array of software. After serving as the CG Supervisor on the groundbreaking films Chicago and The Cell, he fulfilled his earlier dream and opened up Intelligent Creatures in 2002. Working with talented creators like Mark Forster, Darren Aronofsky, Alejandro González Iñárritu, David Tattersall, Oliver Stone and others, Lon quickly built the Toronto-based VFX house into an award-winning studio.
Intelligent Creatures lent its creativity to dozens of projects such as Mr and Mrs Smith, The Witch, and Babel. They built robust pipelines to tackle critically-acclaimed projects, such as the Watchmen's famous Rorschach mask of moving inkblots. Some of their later work, such as the award-winning series Orphan Black and the Emmy-nominated Curiosity: Battlefield Cell, pushed the boundaries of visual effects on TV.
Fifteen years after the formation of Intelligent Creatures, Lon recognized that unlike when he had started in the industry, TV was no longer the "lesser" medium for VFX. When he spoke to Jonathan Bronfman, the two found themselves sharing symbiotic ideas. They saw a gap that others didn't. What if, they asked, we can build a company that focuses on serving only one market, and defines the standard of excellence in that market?
Jonathan is a Toronto-based film producer and entrepreneur. Aside from being the co-founder of MARZ VFX, he is the founder of JoBro Productions, a company that specializes in structuring, financing and producing domestic and international co-productions.
Prior to starting his production and visual effects companies, Jonathan received his Bachelor of Commerce from the Desautels Faculty of Management at McGill University. He then worked for several years alongside Canadian producer Martin Katz.
His recent production work includes Patti Cake$ (Fox Searchlight), The Witch (A24/Universal), Race (Focus Features), Indignation (Roadside Attractions), Two Lovers and a Bear (20th Century Fox/Netflix), Stockholm (starring Ethan Hawke, Noomi Rapace and Mark Strong) and Run This Town (Nina Dobrev, Ben Platt and Damien Lewis).
Before MARZ, Jonathan met and worked with Lon on several films, including Bang Bang Baby (2014) and The Witch (2015), among others. While VFX studios across the globe juggled films and series and commercials and music videos, Jon and Lon turned their attention to TV. They bet on a future where the line between VFX for feature films, and VFX for TV, would dissolve. They married these technological advances with the financial insights that Jon had learned as a producer—with the goal of giving productions great value, while still delivering on astounding quality. In 2018, out of these critical investments, the studio Monsters Aliens Robots Zombies was born.
VISUAL EFFECTS SUPERVISOR
The son of steampunk magicians, Nathaniel was born and raised in a renovated church outside of Montreal. In Toronto, he was plucked from obscurity and scored a sweet gig as a movie magician.
He started as an intern at the VFX studio Intelligent Creatures, where he met Lon Molnar. Throughout the past 11 years of working in VFX and animation, Nathaniel has lent his talents to motion graphics, honed his asset skills through modelling and texturing, and worked primarily as a CG generalist. In that time, he's been part of outstanding teams that have been nominated for and won numerous awards, including the Visual Effects Society Awards, the Canadian Screen Awards, and the Emmy Awards.
During the day, Nathaniel devotes his time on-set and in-house at MARZ creating visual effects for a multitude of media. Some of these projects have included Watchmen, The Umbrella Academy, The Witch, Orphan Black, Hyena Road, Battle LA, and many more. As a VFX Supervisor, he most enjoys devising imaginative means to solve VFX problems. Whether in conceptualization, story-boarding, pre-viz, or on-set supervision, he's most excited when collaborating with creators to form the structure of a shot.
During the night, he experiments and collaborates with other creatives around the world. These collaborations result in directing unique content like Necronomicon, Baby Deer, and the short film Soft Rain.
Importantly, Nathaniel has gifted MARZ with the presence of Olive, the office mascot/dog.
VISUAL EFFECTS SUPERVISOR
Also the son of steampunk magicians (yes, both of our VFX Supervisors are the sons of magicians), Tristan has spent 13 years relentlessly challenging himself as an artist. Inspired to pursue 3D animation by Toy Story and Finding Nemo, he began his career by opening his own VFX and animation studio in Toronto, where he specialized in designing commercials for two years. He then broke into feature-film compositing by working at Intelligent Creatures, where he met Lon Molnar.
After learning from legendary supervisors and artists at multiple Canadian studios, Tristan decided to move to New Zealand to work at Weta Digital as a senior compositor, contributing to Rampage among other super-productions.
Upon his return to Canada, he was drawn to MARZ to continue his creative journey as a VFX supervisor. As part of the found-footage film collective Zapruder Films (which has worked on several projects including Operation Avalanche) he has been nominated at the Sundance Film Festival and Canadian Screen Awards.
As a VFX Supervisor, Tristan enjoys finding cost-effective solutions to challenges at the shot level, sequence level and project level. He specializes in sequence design—the ability to speak to editors and directors to get to the minutia of their narrative, and design an atypical approach in presenting it.