In his career, Murphy has had key responsibility for the creation and delivery of tens of millions of dollars worth of on screen imagery. Key to Murphy's success has been a reputation for maintaining a cool and collaborative attitude with both crew and clients, even under the tremendous pressure of these high stakes productions.
Murphy joined George Lucas' ILM in 1991. He remained at ILM for 10 years, working on such films as HOOK (1991), DEATH BECOMES HER (1992), JURASSIC PARK (1993), FORREST GUMP (1994), CONGO (1995), MISSION: IMPOSSIBLE and STAR TREK: FIRST CONTACT (both 1996), STARSHIP TROOPERS (1997), MERCURY RISING (1998), and PLANET OF THE APES and IMPOSTOR (both 2001).
In 2001, Murphy moved to ESC Entertainment, supervising effects teams for the Wochowskis' MATRIX RELOADED and MATRIX REVOLUTIONS (both 2003) -- an effort that involved nearly two years' work on two continents and a crew of over 140 creative artists. Other work at ESC included CONSTANTINE (2005).
In the fall of 2003, Murphy was invited to New Zealand to supervise sequences of Peter Jackson's KING KONG (2005), building on a long relationship with Weta's Senior Visual Effects Supervisor, Joe Letteri. On the success of KONG, Murphy further worked on Weta's ERAGON - work that involved several weeks of blue-screen motion-bases work at Pinewood Studios in England.
Most recently, Murphy joined the staff of ImageMovers Digital to pursue the all-digital performance capture work of director Robert Zemeckis' and production designer Doug Chiang's BEOWULF (2007). The challenge of building a new studio around a "digital live-action" workflow, presented a unique opportunity to collaborate with some of the industy's best digital artists in defining this emerging film genre.
Best Achievement in Visual Effects 1994: FORREST GUMP (w. Ken Ralston, Stephen Rosenbaum & Allen Hall)
1 nomination, 1 Award