Derek Meddings was a British film and television special effects designer, initially noted for his work on the "Supermarionation" TV puppet series produced by 盖瑞·安德森, and later for the 1970s and 1980s James Bond and Superman film series.
Meddings' first work with Anderson was as an uncredited art assistant on the puppet series, Torchy, the Battery Boy (1960). Later, he painted cut-out backgrounds of ranch houses and picket fences for Four Feather Falls (1960). He was credited with the special effects in Anderson's series Supercar (1961) and Fireball XL5 (1962), being elevated to special effects director for Stingray (1964) for which he and Reg Hill designed the main models. Meddings became special effects supervisor for Thunderbirds (1965), during which time he was responsible for the design of the Thunderbird machines themselves. He was visual effects supervisor for all the Anderson puppet series of the late 1960s and Anderson's first live-action series, UFO (1970). During his time working on these series, Meddings and his team developed several innovations in the filming of miniature models and landscapes which have since become standard in the industry.
In 1979, for his work on 超人 (1978), Meddings was awarded a shared Special Achievement Award for special effects by the Academy of Motion Picture Arts and Sciences and shared the Michael Balcon Award of the British Academy of Film and Television Arts (BAFTA).
Had six children, including sons Nicholas Alexander (born July 1980) and Noah Luscombe (born August 1978) and daughter: Chloe Loveday (born 1982).
Both parents had worked in the British film industry: his father as a carpenter at Denham Studios and his mother as producer 亚历山大·柯达's secretary and actress 梅尔·奥勃朗's stand-in.
At the time of his death, he was engaged in post-production on the James Bond film GoldenEye (1995), on which his sons Mark and Elliott James (born May 1973) also worked. A dedication in the credits of the completed film reads "To the memory of Derek Meddings".
After attending art school in the late 1940s, he also found work at Denham Studios, lettering credit titles. It was there that he met effects designer Les Bowie and joined his matte painting department.
Supposedly, he was asked to supervise the effects for Batman (1989) because director 蒂姆·波顿 was a fan of his work on Thunderbirds.