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Kevin Blank

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Kevin Blank was a Visual Effects Supervisor for Lost, who created the special FX seen on Lost, such as supernatural visual elements. He can be seen on the Lost: The Complete First Season (DVD) featurette Welcome to Oahu. Here, he is shown putting on "bear chaps", and playing a set of polar bear legs that were shot running through high grass, in the attack scene of "Pilot, Part 2". Soon after completing work on "The Brig", Blank stepped down as the visual effects supervisor, giving the position over to Mitch Suskin.

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Visual Effects Supervisor

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Kevin Blank

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Blank running in polar bear chaps.

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Kevin Blank was a Visual Effects Supervisor for Lost, who created the special FX seen on Lost, such as supernatural visual elements. He can be seen on the Lost: The Complete First Season (DVD) featurette Welcome to Oahu. Here, he is shown putting on "bear chaps", and playing a set of polar bear legs that were shot running through high grass, in the attack scene of "Pilot, Part 2". It is revealed in "Welcome to Oahu" that he and J.J. Abrams originally disagreed on the use of using a stuffed polar bear prop being shot out of a cannon to simulate an attacking bear. J.J. eventually gave in after seeing how fake the floppy prop looked when freeze-framed, and agreed to use a CGI bear for those seconds of the attack scene, which he eventually admitted looked great. For his work in Lost on the episode "Pilot, Part 2" Blank won the 2005 VES (Visual Effects Society) Award for Outstanding Supporting Visual Effects in a Broadcast Program, along with is colleagues Mitch Suskin, Benoit Girard, and Jerome Morin. For his work on the episode "Live Together, Die Alone, Part 1", Blank also won the same award in 2006, along with his colleagues John Teska, Mitchell Ferm, and Eric Chauvin. Soon after completing work on "The Brig", Blank stepped down as the visual effects supervisor, giving the position over to Mitch Suskin. He was also interviewed for the "Season 4 Arrives!" issue of Lost: The Official Magazine, in which he listed off his favorite visual effects shots from his work the first three seasons.