We are an independent VFX studio in London, specialising in 2D and 3D VFX, colour grading and deliverables for Film and Episodic Television.

JAIME LEONARD – Owner / Co-Founder / VFX Supervising Producer / VFX Sup

Jaime co-founded The LOC Studios, in 2020 and the company recently celebrated its 5^th birthday. Though still young, LOCStudios has already contributed to an impressive slate of film projects, including recent BAFTA nominees Pillion (BBC Film,BFI,A24) and The Ballad Of Wallis Island (Focus Features). Other film credits include Hallow Road (Two and Two, Screen Ireland), Creature(Arts Council, BFI), 2073 (Neon, Film4) and All Of You (Ryder PictureCo, Apple +). TV includes the recent series Wild Cherry and Mood (Firebird Pictures, BBC) and Queenie (Further South, C4)

Prior to founding The Loc, Jaime started The FlyingColour Company with two former
colleagues from Technicolor. What began as a three-person venture grew into a thriving visual effects studio of nearly 20 artists. The company delivered high-end work on a number of notable productions, and Jaime worked as a VFXArtist and Online Editor on a range of projects including  A Very English Scandal, Humans, TinStar, Killing Eve and Asif Kapadia’s biopic about Diego Maradona.

Prior to co-founding Flying Colour Company, Jaime was atTechnicolor, where he worked as an Online Editor. His craftsmanship contributed to a number of acclaimed films, including Senna, Attack the Block,The Zero Theorem, and The Monuments Men, among others.

Before Technicolor, Jaime founded his own conform and online company Cutting Room Craft, designed to operate directly within film cutting rooms. This hands-on, collaborative approach fostered close working relationships with editors and producers, resulting in several successful projects—including the Academy Award–winning documentary Amy, directed by Asif Kapadia, who Jaime has collaborated with for over 15 years

In the earlier part of his career Jaime worked at theMoving Picture Company (MPC) in London, initially assisting editors in thec ommercials department. He soon moved into the Film DI (Digital Intermediate)department, where he became a DI Editor and gained valuable experience in both traditional and emerging film workflows. It was here that Jaime’s passion for film asa storytelling medium truly took root—echoing his early experiences in theatre, yet through a new creative lens.

Jaime began his career in the arts by studying Technical Theatre at the Bristol Old Vic Theatre School, before going on to work with English Touring Theatre and the Royal Court. Transitioning from theatre to television, he started as a runner at Films@59 in Bristol, later moving into the tape machine room. During his four years there, he worked closely with some of Natural History’s leading filmmakers, developing a deep appreciation for storytelling through visual media.

Chris Chitty – Owner / Co-Founder / VFX Supervisor / Head of 2D

Chris Chitty (known to all as ‘Chitty’) co-founded The LOC Studios in2021 , heading up the 2D department. He has worked across 14 Feature Films, 5xepisodic shows and 3 short films as either a VFX Compositing Supervisor, VFXSupervisor, or both.

Recent film credits include BAFTA nominees Pillion (BBC Film,BFI,A24) and The Ballad Of Wallis Island (Baby Cow, Focus Features) Broadcastcredits include Wild Cherry (Firebird Pictures, BBC1), BAFTA winning Mood(Firebird Pictures, BBC 3), Queenie (Further South Productions, C4)and Mammals (Street Hassle, Vertigo Amazon Prime). Other notable filmcredits include Oscar nominated animated feature, Marcel the Shell withShoes (A24), and Sundance award winning After Yang (Dir: Kogonada) A24.

Chitty has over 20 years experience in the VFX industry. Chitty startedhis post grad film career as a post production Runner in Soho in 2006 where hequickly progressed in to the 2D Flame department where he developd a love forcompositing. His earlier career involved supervising and running the VFX forhundreds of Music Promos, Progressing to Commercials working to large scalebudgets for Global Brands and Advertising Agencies before shifting almostexclusively to his personal holy grail, Feature Films and long formstorytelling.

Over the subsequent years in Commercials he accrued and developed hisVFX skills as a Flame Artist. Chitty feels Flame provides such a greatperspective and playground to learn about VFX from a creative perspective.Flame offers the opportunity to develop a strong  passion for Comp and to make pretty pictures, butthe combination of also being an Online Editor and Finisher running the mastertimeline you really naturally develop your thinking in shots and sequences, youdevelop a strong sense for visual consistency and you are forced in to makingcreative decisions and developing creative solutions that ultimately serve thestory and the mood of the piece as best you

possibly can.

Whether it’s driving projects on via the timeline in the studio, leadinga VFX Sequence, Supervising VFX Artists across multiple projects anddisciplines or compositing shots in a team or as a lone wolf, it’s about gettingthe most out of a budget creatively and technically under the constraints ofthe deadline and the budget itself, whatever constraints it might have, that’sthe main objective. enabling a budget to get its best possible use and ifrequired enabling a team to work as optimally and harmoniously as possiblewhile maintaining visual consistency and setting the bar as high as we can forthe love of the piece.

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James is a BAFTA-nominated VFX Supervisor and Creative Director with over 25 years’ experience across film, television, games, and commercials. James has led teams across thousands of shots for projects including Dance Monsters (Netflix), which involved over 5,000 shots, Doctor Who (BBC/Disney+), and the animated feature Rogue Trooper (Directed by Duncan Jones). James also contributed as Sequence Lead and FX Artist on Lockerbie A Search For Truth, (Sky / Carnival Films), recognised at the 2025 Broadcast Tech Awards for Excellence in VFX.

James’ experience spans independent films such as Piercing and Grand Duke of Corsica, where I delivered FX, compositing, and complex VFX sequences, developing inventive solutions within creative and technical constraints.

James specialises in Virtual Production and real-time workflows that integrate Unreal Engine, Nuke, and USD-based pipelines, bridging creative vision and technical execution from on-set supervision through to final comp.

James’ work on Doctor Who earned nominations for Best Virtual Production (Broadcast Tech 2024) and BAFTA recognition for its title sequence.

Earlier in his career James was Head of CG at Absolute Post, James delivered award-winning campaigns for BMW, Nike, and Sony. Earlier, my collaboration with Jamie Hewlett on Gorillaz sparked a lifelong passion for design-led storytelling. James remain deeply hands-on across Maya, Houdini, FX, lighting, and compositing, ensuring creative leadership is always grounded in practical craft and technical precision.

Jonathan Rawlinson is a highly accomplished VFX Executive Producer with a career spanning physical production, script development, and high-end visual effects for global television and film.

Jonathan joined Loc Studios in January 2026 from REALTIME. In his current role, he collaborates closely with owner-founders Jaime Leonard and Chris Chitty to spearhead the advancement of the studio’s 3D VFX and Virtual Production capabilities. He works in direct partnership with VFX Supervisor James Coore and VFX On-Set Supervisor Jack George—both of whom were also previously at REALTIME—to deliver cutting-edge VFX for film and television productions.

During his tenure at REALTIME, Jonathan was instrumental in the strong growth of the Episodic TV department. His work alongside James Coore and Jack George during this era earned them significant critical acclaim, including a BAFTA nomination for the title redesign of Doctor Who Title sequence. His credits from this period includes Lockerbie: A Search for Truth (Carnival Films / Sky Studios / Peacock), Rogue Trooper (Liberty Films / Warner Bros), Doctor Who: Wild Blue Yonder (60th Anniversary Special) (Bad Wolf / BBC Studios / Disney+), The Winter King (Bad Wolf / Sony Pictures Television / ITVX), Dance Monsters (Lime Pictures / Netflix), Nolly (Quay Street Productions / ITVX), A Discovery of Witches S2 & S3 (Bad Wolf / Sky Studios), Avenue 5 (HBO Entertainment), Ridley Road (Red Production Company / BBC One), and The Watch (BBC Studios / BBC America).

Prior to REALTIME, Jonathan served at Technicolor VFX, where he managed visual effects for a diverse array of prestigious episodic and film projects including Deep State (Endor Productions / Fox Networks Group), Fearless (Mammoth Screen / ITV), Vanity Fair (Mammoth Screen / ITV / Amazon Studios), Chimerica (Playground Entertainment / Channel 4), Troy (BBC/ Netflix). Little Women (Playground/ BBC), Britannia S1 (Vertigo/Sky), Endeavour (Mammoth Screen / ITV), The Miniaturist (The Forge / BBC One) and The Alienist (Anonymous Content / Paramount Television / TNT).

Feature films included Paddington 2 (Studio Canal), Apostasy (BFI/ BBC Films,) Lean On Pete (The Bureau / Film4), and You Were Never Really Here (Why Not Productions / Film4 / BFI).

Jonathan began his career in physical production, working across comedy, feature films, and TV drama. He later transitioned into script development and talent training, where he managed prestigious funding schemes across the UK and Europe. His work was supported by major institutions including the UK Film Council, Creative Skills, Creative England, The British Council and the MEDIA programme of the EU.

Additionally, he devised a ground-breaking talent programme for Screen Australia, which successfully led to the production of 10 short films and two debut features.

Jack joined Loc Studios in January 2026 and his recent VFX Set Supervisor credits include Narnia The Magician’s Nephew (Dir, Greta Gerwig for Netflix) and The Great Beyond (Dir, J. J Abrams/ Warner Bros).

Jack joined Loc Studios from Realtime, where his VFX Set Supervisor credits included
Lockerbie A Search for Truth, The Winter King (for which he also provided Data Wrangling support) and Dr Who Wild Blue Yonder, Nolly, and Dance Monsters.

Jack has an impressive range of credits working as an on-set Data Wrangler and VFX Set Supervisor and VFX Co Ordinator. These include Aquaman, Star Wars – Andor, Solo: A Star Wars Story, Ready Player One, The Batman, Star Wars Episode VII, Star Wars Episode VIII, Star Wars Episode IX, The Martian, Rogue One: A Star Wars Story, Skyfall.

Jack started his VFX career at MPC working his way up the production ranks to coordinating and production managing the matchmove and lighting departments on big budget films including X-Men: First Class, Harry Potter and the Deathly Hallows: Part 2, Prometheus, Skyfall and World War Z. Having built up an in-depth knowledge on VFX in post, Jack then transferred these skills on to set which helped him progress from data wrangler to onset supervisor.