Biography

Craig McPherson is an animation supervisor at Sony Pictures Imageworks (SPI). McPherson began his professional work in animation in the late 1990s, with early credits on television series such as Weird-Ohs (1999) and Action Man (2000), as well as on animated and interactive projects including Barbie in the Nutcracker (2001) and Heavy Gear: The Animated Series (2001). He also worked in video games during this period, contributing animation to titles such as The Simpsons: Road Rage (2001) and Hulk (2003), before moving increasingly into feature film production. In the mid-2000s, McPherson transitioned into high-end feature animation and visual effects, working as an animator on Happy Feet (2006) and Barbie as the Island Princess (2007), and as a senior animator on Outlander (2008). His work on District 9 (2009) marked an important step into effects-heavy live-action cinema, followed by supervisory animation roles on major studio films including The Smurfs (2011), Men in Black 3 (2012), and Oz the Great and Powerful (2013). By the 2010s, McPherson had established himself as a supervising and lead animator on large ensemble productions, including Edge of Tomorrow (2014), Alice Through the Looking Glass (2016), Ghostbusters (2016), and Kingsman: The Golden Circle (2017). His work during this period often involved overseeing character animation teams and integrating animated performances into complex visual effects environments, particularly on franchise films such as Jumanji: The Next Level (2019) and Men in Black: International (2019). Alongside feature films, McPherson has contributed to episodic streaming projects, serving as an animation supervisor on the anthology series Love, Death & Robots (2019–2022). In the 2020s, his supervisory credits have included major studio releases such as Spider-Man: No Way Home (2021), Thor: Love and Thunder (2022), Ant-Man and the Wasp: Quantumania (2023), and Ghostbusters: Frozen Empire (2024), where he served as animation supervisor. His continued work includes feature animation on KPop Demon Hunters (2025) and Project Hail Mary (2026).

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