After graduating college with a Bachelor's Degree in English and Theoretical Physics, Grant Boucher has pursued writing and computer animation with equal passion. Before coming to Hollywood, Grant was the graphics and technical producer of an educational proof-of-concept called Peter Penguin.

Conceived and produced by noted educational pioneer Peter Shrek, this successful test commissioned by Geraldine Laybourne (MTV/Nickelodeon/Viacom at the time) launched the development of Blues Clues - which went on to become one of the most successful children's television shows of all time.

At Amblin Imaging, a visual effects house originally formed by Steven Spielberg and Universal Studios for the television show seaQuest DSV, Grant worked on seaQuest for all three seasons and Star Trek: Voyager for its first two seasons. Grant was the CG Supervisor and lead Digital Artist on Amblin Imaging's Emmy-award winning work on the Star Trek: Voyager pilot, "Caretaker" - the episode that successfully launched the UPN network for Paramount.

Grant then leveraged the experience gained at Amblin Imaging to form a new division at Digital Domain, the visual effects house co-founded by James Cameron and Stan Winston. As the Head of the Windows NT Division and a Digital Effects Supervisor, he was instrumental in changing the way digital visual effects work was done, increasing efficiency and profits throughout the company.

In addition to the majority of high-end commercial work done during his artistic and management tenure there (see Visual Effects for details), Grant's team was responsible for the Academy Award winning digital Titanic elements for James Cameron's film, Titanic. While at Digital Domain, Grant received a Clio for his work as technical supervisor on Nike's groundbreaking "Virtual Andre" commercial and the first annual NAB Digital Showcase award (recognizing excellence in motion graphics for broadcast video and film) for his role in breaking the "glass ceiling" of Oscar-caliber special effects work to non-Silicon Graphics-based technologies. Grant and his team's pioneering work led the way for rest of the high-end visual effects industry, which is today dominated by desktop PC based hardware and software.

After completing work on Titanic, Grant and his team formed Santa Monica visual effects startup Station X Studios. As Station X's founder, CEO, and Executive Producer, Grant received the LightWave Achievement Award in recognition for his years of contributions to the visual effects community. Station X was best known for visual effects work on Dogma, Big Daddy, Mutiny, The Hunley, and Tom Clancy's Netforce, as well as numerous national commercial campaigns (see visual effects for details).

Upon leaving Station X, Grant returned to his independent roots as an author, producer, visual effects supervisor, and now director. In addition to developing his own projects for print, film, and television.

Grant has been a scientific, creative, and visual effects consultant for Revelations Entertainment (Morgan Freeman and Lori McCreary, partners) since 1999, focusing on the feature film adaptation of Arthur C. Clarke's Rendezvous with Rama (director: David Fincher). Grant has served as the creative director and visual effects consultant on the Runelords feature film franchise (domestic distribution through Warner Brothers) since 2002.

As the co-director and Visual Effects Supervisor on Dragonís Treasure, the unprecedented CGI centerpiece of the $2 billion City of Dream Casino in Macau, Grant assembled the talented team and the groundbreaking visual effects pipeline. Dragonís Treasure went on to win the coveted THEA award from the Themed Entertainment Association as well as the Visual Effects Societyís special venue award.

Grantís stereoscopic experience has included coming in as the producersí vfx supervisor and vfx producer on the IMAX 3d DINOSAURS ALIVE! film in order to guarantee the final delivery of the entire project. In 2010 Grant built the stereoscopic facility inner-D to handle the stereoscopic conversion of PIRANHA 3D from 2d to 3d for The Weinstein Company. Despite its extremely modest budget, P3D remains one of the best regarded conversions to date.

And finally, Grant's first novel, THE BLACK SKULL: First Book of the Dead has been described as ďThe epic tapestry of Lord of the Rings meets the socio-political themes of Planet of the Apes meets the mythology of The MummyĒ and is now on sale worldwide on