FILMOGRAPHY (1987 — 2021) 

 

DIGITAL VISUAL EFFECTS  

2021 THE CURSE OF TURANDOT (Dongyang Hua'er); CG paint, look development, hair groom for Tippett Studios. Eric Leven, VFX Supervisor.

2020 SOUL SNATCHER (Edko Films); CG paint, look development, hair groom for Tippett Studios. Chris Morley, VFX Supervisor. 

2018 SWEET DREAMS (Hunan Television) TV Series; CG paint, look development, hair groom for Tippett Studios. Matt Jacobs, VFX Supervisor. 

2016 ELVIS PRESLEY (Pulse Evolution); Full resolution digital double (digital human paint textures, rendered hair & clothes). 

2014 MICHAEL JACKSON: SLAVE TO THE RYTHM (Pulse Evolution); Full resolution digital double performance at Billboard Awards, May 2014 (digital human paint textures & clothes). Steven Rosenbaum, VFX Supervisor. 

2013 ENDER’S GAME (Summit/Odd Lot Entertainment); MARI texture artist for Digital Domain (hard-surface space vehicles). Matthew Butler, VFX Supervisor. 

2013 PACIFIC RIM (Legendary/Warner Bros.); Practical (miniature) model set construction for 32Ten Studios. John Knoll, VFX Supervisor. 

  - BAFTA Award Nominee: Achievement in Special Visual Effects -  

2013 JACK THE GIANT SLAYER (New Line/Warner Bros.); MARI texture artist for Digital Domain (paint for digital giants & giant’s costumes). Steven Rosenbaum, VFX Supervisor. 

2011 MARS NEEDS MOMS (Image Movers Digital/Disney); Texture Painter, Concept Model Maker for IMD. Doug Chiang, Artistic Director. 

2009 A CHRISTMAS CAROL (Image Movers Digital/Disney); Texture Painter, Matte Painter and Concept Model Maker for IMD. Doug Chiang, Artistic Director. 

2007 TRANSFORMERS (Dreamworks/Paramount); Digital Artist for ILM (primary painter for Bumblebee). Scott Farrar, VFX Supervisor. 

  - Academy Award Nomination: Best Visual Effects - 

2006 PIRATES OF THE CARIBBEAN: DEAD MAN’S CHEST (Disney); Screen Credit: Digital Artist for ILM (paint for characters and props). John Knoll, VFX supervisor. 

  - Academy Award Winner: Best Visual Effects - 

  - BAFTA Award Winner: Achievement in Special Visual Effects - 

2005 STAR WARS EPISODE III: REVENGE OF THE SITH (Lucasfilm Ltd.); Screen Credit: Digital Artist for ILM (paint for ships, vehicles, characters & props). John Knoll, VFX supervisor. 

CHRONICLES OF NARNIA: THE LION, THE WITCH. AND THE WARDROBE (Disney); Screen Credit: Digital   Artist for ILM (Paint for animals and characters). Scott Farrar, VFX Supervisor. 

  - Academy Award Nominee: Best Visual Effects - 

  - BAFTA Award Nominee: Achievement in Special Visual Effects - 

PRACTICAL VISUAL EFFECTS 

2013 PACIFIC RIM (Legendary/Warner Bros.); Practical (miniature) model set construction for 32Ten Studios. John Knoll, VFX Supervisor. 

  - BAFTA Award Nominee: Achievement in Special Visual Effects -  

2005 THE ISLAND (Dreamworks); Model Maker for ILM (model sets). Eric Brevig, VFX Supervisor. 

2004 THE POLAR EXPRESS (Warners Bros.); Screen Credit: Model Maker for Warner Bros. (color tests). Ken Ralston, VFX Supervisor. 

2003 PETER PAN (Universal); Screen Credit: Model Maker For ILM (Lead painter, ship models, props, stage support). Scott Farrar, VFX Supervisor. 

PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL (Disney); Screen Credit: Model Maker for ILM (Lead painter, ships, props, stage support). John Knoll, VFX Supervisor. 

  - Academy Award Nominee: Best Visual Effects - 

  - BAFTA Award Nominee: Achievement in Special Visual Effects - 

TERMINATOR 3: RISE OF THE MACHINES (Warner Bros.); Screen Credit: Model Maker For ILM (Skull Set fabrication & stage support, greenhouse deco & stage support). Pablo Helman, VFX Supervisor. 

2002 GANGS OF NEW YORK (Miramax); Model Maker for ILM (miniature set paint). Michael Owens, VFX Supervisor. 

  - BAFTA Award Nominee: Achievement in Special Visual Effects - 

HARRY POTTER AND THE CHAMBER OF SECRETS (Warners Bros.); Model Maker for ILM (Quidditch field set deco). Jim Mitchell, VFX Supervisor. 

  - BAFTA Award Nominee: Achievement in Special Visual Effects - 

STAR WARS EPISODE II: ATTACK OF THE CLONES (Lucasfilm Ltd); Concept Sculptor for JAK Films via ILM. Screen Credit: Concept Sculptor. John Knoll, VFX Supervisor. 

  - Academy Award Nominee: Best Visual Effects - 

2001 A.I.: ARTIFICIAL INTELLIGENCE (Warner Bros.); Model Maker for ILM (Buildings in New York, flooded sequence). Scott Farrar, VFX Supervisor. 

  - Academy Award Nominee: Best Visual Effects - 

  - BAFTA Award Nominee: Achievement in Special Visual Effects - 

PLANET OF THE APES (20th Century Fox); Screen Credit: Model Maker for ILM (Vehicle and prop build, detail, paint, stage support). Bill George, VFX Supervisor. 

        JURASSIC PARK III (Universal); Model Maker for ILM (Airplane paint). Jim            Mitchell, VFX Supervisor. 

        PEARL HARBOR (Touchstone); Model Maker            for ILM (Building model & scenic        painting. Eric Brevig, VFX sup    

        - Academy Award Nominee: Best Visual Effects 

2000 SPACE COWBOYS (Warner Bros.); Model Maker for ILM (Vehicle paint & physical detail). Michael Owens, VFX Supervisor. 

      MISSION TO MARS (Touchstone); Model Maker for ILM (Model sets). John                      Knoll, VFX Supervisor. 

X-MEN (20th Century Fox); Model Maker for Matte World Digital (Vehicle paint). Craig Barron, VFX Supervisor. 

1999 GALAXY QUEST (Dreamworks); Screen Credit: Model Maker for ILM. Bill George, VFX Supervisor. 

STAR WARS EPISODE I: THE PHANTOM MENACE (Lucasfilm Ltd); Screen Credit: Model Maker for ILM (vehicles, props, set painter, stage support). John Knoll, VFX Supervisor. 

  - Academy Award Nominee: Best Visual Effects - 

  - BAFTA Award Nominee: Achievement in Special Visual Effects - 

THE MUMMY (Universal); Screen Credit: Model Maker for ILM (sculpting, painting). Scott Farrar, VFX Supervisor. 

  - BAFTA Award Nominee: Achievement in Special Visual Effects - 

1998 DEEP IMPACT (Dreamworks/Paramount); Screen Credit: Model Maker for ILM (vehicle painting & detailing, stage support). Scott Farrar VFX Supervisor. 

SOLDIER (Warner Bros.); Model Maker for Matte World Digital (vehicle painting). Craig Barron, VFX Supervisor. 

1997 STARSHIP TROOPERS (Tristar/Touchstone); Screen Credit: Model Maker for ILM (vehicle painting & detailing, stage support). Scott Squires, VFX Supervisor. 

          - Academy Award Nominee: Best Visual Effects - 

  - Saturn Award Winner: Best Special Effects - 

STAR WARS TRILOGY: SPECIAL EDITION (20th Century Fox/Lucasfilm): Model Maker for ILM (paint). Dave Carson, VFX Supervisor. 

1996 MARS ATTACKS (Warner Bros.); Model Maker for ILM. Jim Mitchell, VFX Supervisor. 

STAR TREK: FIRST CONTACT (Paramount); Screen Credit: Chief Model Maker for ILM (lead paint, detail, stage support). John Knoll, VFX Supervisor. 

DAYLIGHT (Universal); Model Maker for ILM (miniature sets). Scott Farrar, VFX Supervisor. 

DRAGONHEART (Universal); Model Maker for ILM (dragon paint). Scott Squires, VFX Supervisor. 

  - Academy Award Nominee: Best Visual Effects - 

MISSION: IMPOSSIBLE (Paramount); Screen Credit: Model Maker for ILM (Vehicle paint & detail, miniature set paint, stage support). John Knoll, VFX Supervisor. 

JAMES AND THE GIANT PEACH (Buena Vista); Scenic painter for Skellington Productions (Stage support). Henry Selick, director. 

1995 JUMANJI (Tristar); Model Maker for ILM (painted models to be scanned for CG). Stephen L. Price, VFX Supervisor. 

CONGO (Paramount); Model Maker for ILM (Sculpt, build, paint miniature sets, stage support). Scott Farrar, VFX Supervisor. 

1994 STAR TREK: GENERATIONS (Paramount); Screen Credit: Model Maker for ILM (vehicle paint). John Knoll, VFX Supervisor. 

FORREST GUMP (Paramount); Model Maker for ILM (Feather fabrication & puppeteering). Ken Ralston, VFX Supervisor. 

  - Academy Award Winner: Best Visual Effects - 

  - BAFTA Award Winner: Achievement in Special Visual Effects - 

BABY’S DAY OUT (20th Century Fox); Model Maker for ILM (Paint). John Knoll, VFX Supervisor. 

THE FLINTSTONES (Amblin/Universal); Model Maker for ILM (Paint). Mark Dippé, VFX Supervisor. 

1993 FIRE IN THE SKY (Paramount); Model Maker for ILM. Michael Owens, VFX Supervisor. 

THE METEOR MAN (MGM); Screen Credit - Model Maker for ILM. Bruce Nicholson, VFX Supervisor. 

        ALIVE (Touchstone/Paramount); Model Maker for ILM. Scott Farrar, VFX                        Supervisor. 

1992 DEATH BECOMES HER (Universal); Model Maker for ILM. Ken Ralston, VFX Supervisor. 

  - Academy Award Winner: Best Visual Effects - 

  - BAFTA Award Winner: Achievement in Special Visual Effects - 

        ACES: IRON EAGLE III (Carolco); Model Maker for Carolco. Paul Boyington,                      VFX Supervisor. 

1991 HOOK (Amblin/Columbia); Model Maker for ILM. Eric Brevig, VFX Supervisor. 

  - Academy Award Nomination: Best Visual Effects - 

STAR TREK VI: THE UNDISCOVERED COUNTRY (Paramount); Screen Credit: Model Maker for ILM. Scott Farrar, VFX Supervisor. 

THE ROCKETEER (Disney); Model Maker for ILM. Ken Ralston, VFX Supervisor. 

1990 DIE HARD 2 (20th Century Fox); Model Maker for ILM. Michael J. McAlister, VFX Supervisor. 

       BACK TO THE FUTURE PART III (Universal); Model Maker for ILM, Ken                            Ralston VFX Supervisor. 

THE HUNT FOR RED OCTOBER (Paramount); Screen Credit: Model Maker for ILM. Scott Squires, VFX Supervisor. 

        AKIRA KUROSAWA’S DREAMS (Warner Bros.); Model Maker for ILM. Ken                        Ralston VFX    Supervisor. 

1989 GHOSTBUSTERS II (Columbia); Screen Credit: Model Maker for ILM. Dennis Muren, VFX Supervisor. 

INDIANA JONES AND THE LAST CRUSADE (Lucasfilm/Paramount); Screen Credit: Model Maker for ILM (clothes & make-up effects). Michael J. McAlister VFX Supervisor. 

  - BAFTA Award Nominee: Best Special Effects - 

BODY WARS (Disney - simulator ride for Epcot); Model Maker for ILM. 

1987 THE HANOI HILTON (Cannon); Scenic Painter. R. Clifford Searcy, Production Designer. 

CAPTAIN POWER AND THE SOLDIERS OF THE FUTURE (Landmark Entertainment): Model Maker for Landmark Entertainment. Gary Goddard, Overall Supervisor. 

MASTERS OF THE UNIVERSE (Cannon): Model Maker for Landmark Entertainment. Gary Goddard, Director.  

SELECTED COMMERCIALS (ILM, 1988 - 2001) 

  • INTEL: “Cityscape,” “Circuits,” “Intel Inside” - model maker 

  • PERRIER: “French Foreign Legion” (European release) - model maker 

  • NISSAN: “Pigeons” - creature builder 

  • PEPSI: “Casper - Stuck” model maker & scenic painter 

  • 3M: “Imagine” - painter 

  • MALAYSIAN AIR: “Odyssey (Pacific Rim release) - model maker 

  • COCA-COLA: “Caravan 3” - model maker 

  • GE: “Energy-Saver Bulbs” - model maker 

  • NIKE: “Famous Directors” Series - model supervisor & sculptor 

  • PLAYSTATION: “Dark Cloud” - model supervisor & model maker 

  • US AIR “Ballet” - model maker 

  • CHEVROLET: “Tufa” - scenic builder & painter 

  • FORTIS: “Winds of Change” - model maker 

  • CARVEL: “Everything Should Be Made of Ice Cream” - model maker 

  • ENERGIZER BUNNY - model maker 

  • FIRST UNION BANK Series - model maker 

  • BIG BABOL: “Basket” - model maker 

  • VIRGIN ATLANTIC: “Nose” - model maker 

PROJECTS OF INTEREST 

  • Restoration Team assembled by the Smithsonian National Air & Space Museum to restore TOS USS Enterprise filming model from “Star Trek: The Original Series” (1966-69) — Washington DC, April 2016.  

  • Christian Louboutin/Star Wars collaboration ”The Last Jedi” futuristic shoe for charity auction.

PRINT AND MEDIA APPEARANCES 

Books 

  • Sculpting A Galaxy: Inside the Star Wars Model Shop (Insight Editions) by Lorne Peterson, 2006: pp. 108, 174, 205 

  • Mythmaking: Behind The Scenes of Star Wars Episode II: Attack of the Clones (Del Rey) by Jody Duncan, 2002: p. 98. 

  • Art of Star Wars Episode II: Attack of the Clones (Del Rey) by Mark Catta Vaz, 2002: pp. 74-5, 80, 140, 160. 

  • The Wildlife of Star Wars: A Field Guide (Chronicle Books) by Terryl Whitlatch and Bob Carrau, 2001 (Sculpted the art for the cover, which defined the Dewback skin). 

  • Industrial Light & Magic: Into The Digital Realm (Del Rey) by Mark Cotta Vaz & Patricia Rose Duignan, 1996; pp. 48, 147. 

  • Creating the Worlds of Star Wars: 365 Days (Abrams) by John Knoll and J.W. Rinzler, 2005 day 175, 259. 

Magazines/Newspapers 

  • Cinefex #90 (2002): “Love and War” (Star Wars: Attack of the Clones) by Jody Duncan, photo p. 107. 

  • Cinefex #69 (1997): “Phoenix Rising” (Star Trek: First Contact) by Kevin H. Martin, photo p. 104. 

  • Cinefex #49 (1992): “Letting Slip The Dogs Of War” (Star Trek VI: The Undiscovered Country) by Kevin H. Martin,  photo p. 44. 

  • Cinefex #45 (1991): “Maximum Impact” (Die Hard 2) by Mark Cotta Vaz, photo p. 50 

  • Cinefex #42 (1990): “The Thrill Of The Hunt” (The Hunt For the Red October) by Mark Cotta Vaz, photo p. 12. 

  • Cinefex #40 (1989): “Ghostbusters Revisited “ (Ghostbusters II) by Adam Eisenberg, photo p.27. 

  • Vanity Fair, March 2002, p.205 - photo: Droid painted for lighting test. 

  • Marin Independent Journal, September 21, 1996: “Model Maker Finds Inspiration In Art Galleries.” 

  • San Francisco Chronicle, July 21, 1995: “More Magic After Hours.” 

Websites/Podcasts/Appearances 

  • StarWars.com website, “Designs of Episode II: RIC 920.” 

  • StarWars.com website, “Modelling a Galaxy.” 

  • TalesFromTheCollection.com website, “Behind the Scenes with Kim Smith: From Practical Models to Digital Art” (February 2025). 

  • WarpFactorTrek.com website, “An Interview With Model Maker Kim Smith.” (8 September 2023) 

  • The 501st Legion - Celebrating 50 years of Lucasfilm with Kim Smith & John  Goodson, 2021. 

  • WonderFest 2017 – Panel with John Goodson and Bill George about restoring the TOS Enterprise 

  • Star Wars: Where Science Meets Imagination - John Goodson and Kim Smith in conversation with Anthony Daniels, Boston Museum of Science 2005 

  • Star Wars: Where Science Meets Imagination – Kim Smith and Carol Bauman panel discussion, “Women in Special Effects”, The Tech Museum of Innovation, San Jose CA 2014 

  • Silli-Con Convention with Adam Savage, San Jose, 2022

  • Poppy Jasper Film Festival Zoom Panel discussing Pirates of the Caribbean, 2021

Documentaries  

  • “LIGHT & MAGIC” Documentary Series, Disney+ - interviews; episodes 1 (“Gang of Outsiders”), 5 (“Morfing”) and 6 (“No More Pretending You’re Dinosaurs”), (Disney, 2022). 

  • “Industrial Light and Magic: The Next Generation” - Bonus feature documentary on Star Trek: First Contact Blu Ray (Paramount, 2009). 

  • “Action! An Adventure in Moviemaking” - Exhibition at the Museum of Science and Industry, Chicago; opened May 2004. Included “Meet The Moviemakers,” a taped interview on the making of “The Hunt For The Red October.” 

  • “Beneath The Surface” - Bonus feature documentary included on “The Hunt For The Red October” Collector’s Edition DVD (Paramount, 2003). 

  • “The Making Of Congo” - interview for TV program “First Look,” 1995.