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Animation Features/Commercials/Digital Director / Supervisor

Work Highlights

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Craig Talmy directs the creation and performance of computer animation.

With over thirty years in the entertainment industry, Craig brings both a critical artistic eye and solid technical know–how to his projects. He started in traditional special effects with films such as Beetlejuice, and stop motion projects like Bud Bowl III. On Species, he was involved with one of the first motion capture productions. This background in film, lighting, and timing continues to influence his work at the intersection of the real and the computer–generated.

Craig's skill in translating the complex process of CG animation keeps projects on task and on schedule, and his dedication to technical and artistic excellence brings the client's vision to life.


In the world of feature films, Craig serves as director of animation. His credits include Crazy Alien, Big Miracle, Red Riding Hood, Grown Ups 2, Marmaduke, Night at the Museum 1 & 2, The Mummy: Tomb of the Dragon Emperor, Charlotte's Web, The Chronicles of Riddick, The Cat in the Hat, Harry Potter & The Sorcerer's Stone, and Dr. Dolittle 2. Many of these include the direction of international teams.


Among Craig's many notable commercial projects are the campaigns for Target and The Hartford Financial Services Group — creating fully photo real CG characters and bringing these classic icons to life. Craig has directed the gecko for the ubiquitous GEICO campaign spots, the Target Bullseye Mascot in Sentimental Reasons, as well as the Coca–Cola Polar Bears spots Carousel and Sledding. He has also directed the all–CG spots for Skippy Nutshells Spring Break, Dodge Clover and Dodge Ants.

Distance and F2F

Craig has extensive experience in long distance direction and supervision with remote teams, including India and Malaysia. He has a demonstrated ability to successfully interact in real–time, optimizing performance and team efficiency across multiple cultures. As a collaborator within diverse technical and creative teams, he consistently translates multiple and often conflicting artistic, technological, and budgetary requirements into performance excellence.

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