who’s gone where? From where? And when? As the Revolving Doors spin, we put the spotlight on spot-makers on-the-move.

After reading the last issue of On The Spot, former Gee Jeffery & Partners producer Anna Bensimon became alarmed at the fact that no one seemed to know of her whereabouts. Bensimon wants all to know she is doing just fine, living life as a freelance producer, but now on the production side of advertising.

‘I decided to try my hand at the production side of things,’ confirms Bensimon. ‘I am still involved in commercial production, but I’m going to spend some time learning line production and work on this side of the picture. I’ll probably still do some agency work as well, but on a freelance basis.’

Bensimon is hopeful this foray into another facet of commercial production will better equip her to move forward in her career.

‘I think it will make me a more well-rounded producer and make me better at what I do to know about the guts and glory of the production house world,’ she says.

*Lisa covers for Lisa at Spin

Lisa Hemeon has stepped in as senior producer at Spin Productions’ commercial and broadcast division while Spin executive producer Lisa Batke attends to a new baby boy.

Hemeon, a nomad on the Toronto post-production scene, started her career at Magnetic North and first worked with Spin in 1992. For the past six months was a senior producer with Spin Entertainment, the company’s long-form division. She reportedly jumped at the chance to get back into the commercial side of Spin’s business.

Spin president Connie Dercho says she hopes to turn Hemeon’s temporary position into something permanent as the weeks speed by.

‘We are lucky to have her and she is going to be with us hopefully – we are anticipating – beyond [Batke’s] six-month maternity leave. We are hoping to expand and grow and keep her on,’ says Dercho.

Hemeon is also acting chairperson of the Bob Mann Post Production Award committee for the Bessies, a post she undertook in 1995.

*Kwak does Voodoo

Montreal’s Voodoo Arts has signed French special effects guru Didier Kwak for exclusive representation in North America. Voodoo is repping Kwak for both commercial and feature film work.

Kwak has been creating and directing special effects for nearly 15 years. His commercial credits include Volkswagen, American Express, Yoplait and Fiat, while his feature work includes Par de la les nuages, The Fifth Element and Willow.

*Heinze signze with TOYBOX

Gudrun Heinze has joined Command Post/ toybox as a senior visual effects compositor after a lengthy stay at Gajdecki Visual Effects. A 13-year vfx veteran, Heinze also put in time at Spin Productions and Calibre Digital Pictures.

Her lengthy commercial credit list includes work for 7-UP, Toyota, BCTel and Kokanee. On the long-form side, she has worked on such features as Masala, Brain Candy and Mimic. She is currently compositing a Friday the 13th installment called ‘Jason X’ on Inferno.

*Walsh shoots north

U.S. cinematographer John Walsh has relocated to Vancouver in search of more commercial and long-form opportunities after nurturing an eight-year career in the States with Turner Broadcasting and as a freelancer.

‘I didn’t come to Canada to make money,’ says Walsh. ‘I came here to shoot high-caliber film and get higher-quality projects. A lot of Americans want to make more dough and a lot of the Canadians I’ve met wonder why I came up here if I can’t make as much money [as in the u.s.]. If I wanted to make more money, I would have stayed at Turner.’

Walsh, who studied cinematography under Woody Omens at the University of Southern California, got his career started freelancing in l.a. He eventually landed the job with Turner in Atlanta in 1994.

‘It was a great working experience,’ says Walsh of the Turner brand spots and show openings he shot. ‘In terms of commercial work, I’ve done a full range of commercials, primarily promotions for television. They are visual effects heavy. While I was at Turner, the network was pouring lots of money into post-production special effects gear.’

During his time with Turner, Walsh became very adept at incorporating Flame and MRMC Milo technologies into his shoots. *