In this conversation, Kofi interviews Richard Clark, the head of visualisation and VFX supervisor at Cinesite, to discuss the role of visualisation in the industry. We explore the origins and evolution of visualisation, the use of real-time tools like Unreal Engine, and the impact of virtual production.

Richard emphasizes the importance of quick workflows and the ability to think visually in the visualisation process. He also highlights the trend of studios taking back pre-production work and the potential for students to enter the industry through visualisation.

Richard suggests exploring other areas of VFX, such as medical visualisation and motion graphics, to start earning and learning. He advises patience and mentions that the industry is slowly recovering from the effects of the strike.

Richard shares his journey into the VFX industry, starting with his early interest in computer art and his experience working on various films. He discusses the potential impact of AI on the industry, noting that while AI has the potential to automate certain tasks, it may not replace the creativity and expertise of artists.

Takeaways

- Visualisation is a quick way of seeing and planning what a sequence or shot will look like before it is filmed or created.

- Real-time tools like Unreal Engine have revolutionized visualisation by allowing for faster and more efficient workflows.

- Visualisation departments in studios offer an end-to-end solution and allow for more flexibility and collaboration in the production process.

- Students interested in entering the industry can explore visualisation in areas like architectural visualisation or working with companies that contract with the Ministry of Defense.

- The industry is currently experiencing a slowdown, but there is potential for a surge in demand once production ramps up again. Explore other areas of VFX, such as medical visualisation and motion graphics, to start earning and learning.

- Be patient as the industry recovers from the effects of the strike.
Motion graphics is still in demand and can be a good career path for 2D artists.

- Richard shares his journey into the VFX industry, starting with his early interest in computer art and his experience working on various films.

- While AI has the potential to automate certain tasks, it may not replace the creativity and expertise of artists.

Chapters

00:00 Introduction and Background
01:49 The Use Cases and Need for Visualisation
07:07 The Evolution of Visualisation Tools
10:58 Post-Vis and Tech-Vis
28:30 The Future of Visualisation and the Role of Generalists
34:22 Challenges in the VFX Industry
38:56 Richard's Journey into the VFX Industry
46:18 Exploring Opportunities in Other Areas
51:50 The Potential Impact of AI in VFX

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In this episode, I chat to VFX Comp Supervisor Ruth Meridjen about the state of the VFX industry in 2024 and the impact of the pandemic on production.

The slow ramp-up of production and the greenlighting of projects are discussed. The future of the industry and the role of AI in filmmaking are examined, with a focus on the limitations and regulations surrounding AI. The importance of storytelling and the need for more unique and diverse stories are emphasized, as well as the need for VFX to support the story rather than overshadow it. The conversation covers topics such as representation in movies and TV shows, attitudes towards AI in the VFX industry, the impact of AI on job security, adapting to changes in Nuke, balancing work and learning, Ruth's journey in the VFX industry, and addressing burnout in the VFX industry.

Takeaways

• The VFX industry has faced challenges due to the pandemic, with a slow ramp-up of production and the greenlighting of projects that may not have been approved in normal circumstances.
• AI has the potential to impact the industry, but regulations and laws are still being developed, and the role of AI in reproducing human artistry is limited.
• The industry should prioritize storytelling and the creation of unique and diverse stories to engage audiences and avoid repetitive content.
• VFX should be a supporting cast member to the story, enhancing it without overshadowing it. There is a need for more diverse and inclusive representation in movies and TV shows.
• Attitudes towards AI in the VFX industry range from excitement to fear of job loss.
• While AI may pose risks to certain jobs in the industry, it is unlikely to completely replace artists.
• Staying updated with software upgrades and new workflows is important in the VFX industry.
• Finding a work-life balance and setting boundaries is crucial to avoid burnout in the industry.

Chapters

00:00 Introduction and Setting the Stage
01:18 The State of the Industry in 2024
04:44 Slow Ramp-up of Production
05:29 The Future of the Industry and AI
07:29 The Role of AI in Filmmaking
09:32 Regulations and Laws around AI
11:15 The Limitations of AI in Reproducing Human Artistry
13:09 The Future of AI and the Flattening Curve of Progress
14:08 The Impact of AI on VFX Processes
15:11 The Quantity vs Quality Dilemma
18:30 Audience Fatigue with Repetitive Content
19:25 VFX as a Supporting Cast Member
20:24 Playing It Safe and Lack of Unique Stories
21:29 The Need for More Diverse Stories
21:33 Representation in Movies and TV Shows
23:08 Attitudes Towards AI in the VFX Industry
25:18 The Impact of AI on Job Security
26:23 Adapting to Changes in Nuke
29:32 Balancing Work and Learning
32:39 Ruth's Journey in the VFX Industry
37:21 Addressing Burnout in the VFX Industry

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Exploitation of VFX Artists - With Senior CG Generalist Mark Woodcock | TVAP EP58

In this episode, I chat to senior CG Generalist Mark Woodcock about the exploitation of Artists in the VFX industry, following his recent and ongoing dispute with IXOR Visual FX.

Mark joins the podcast to enlighten us, for the purpose of informing and educating other artists in order to be aware and avoid similar situations.

We hope you find this episode useful, and would encourage artists to fight and speak out about injustices, to protect other artists from falling into similar issues.

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Disclaimer: The information shared by Mark comes from his recent experience with a Visual Effects studio and includes knowledge gained from former employees of that studio. Whilst he endeavours to provide factual information, he has asked me to specify that some incites such as ex-employees thoughts and a few instances of speculation cannot be 100% verified. His contract payment dispute is still on-going and verifiable which is the focus of the discussion.

00:00 Introduction & Disclaimer
01:17 Mark's story
04:39 The Recruitment Process
07:38 Lack of Communication and Organization
15:37 Payment Issues and Lack of Accountability
17:07 Introduction and Background
17:52 Unresolved Payment Issue
18:36 Impact on Freelancers
19:36 Financial Consequences
21:02 Limited Company and Financial Buffer
22:32 Fear of Speaking Up
23:58 Concerns from Other VFX Companies
24:58 Ownership and Legal Issues
28:43 Cracked Software and Legal Troubles
30:10 False Image and Misrepresentation
31:01 Manipulation of Services Offered
32:23 Poor Quality of Work
33:16 Resolution and Awareness
35:29 Manipulation of Reviews
36:43 Investigation and Glassdoor Reviews
38:29 Prioritizing Job Security
39:21 False Offices and Deterrence
39:50 Lack of Resolution and Communication
40:24 Exploitation in the UK
41:30 Importance of Contracts
43:38 Exploitation in Other Studios
47:25 Working Without Contracts
48:43 Other Sketchy Experiences
51:44 Protecting Artists and Changing the Industry
52:43 Diversifying and Finding Other Opportunities


Watch the full videos
📣Inside VFX Recruitment with Melissa Blakey, Global Head of Talent at Crafty Apes | TVAP EP53 (Part-1)
https://youtu.be/C6n0zndRPDI
📣Inside VFX Recruitment with Melissa Blakey, Global Head of Talent at Crafty Apes | TVAP EP53 (Part-2)
https://youtu.be/BNXNMo32oes

As always, if you liked this episode, please 👍 like, 📝 comment, 📢 subscribe, and 📣 share!

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The health of the VFX industry in 2024, with foudner of MOTUS Kurt Maclachlan | TVAP EP57

In this episode, I chat to Kurt Maclachlan about the status of the VFX in 2024.

We discuss where things are at currently, what needs to be done for a better future of the VFX industry and more!

00:00 Introduction and Background
02:48 Causes of the Strikes
04:29 Key Concerns for Actors and Writers
04:59 Impact on VFX Artists
06:06 Duration of the Strikes
07:48 Current State of the Industry
08:09 Hiring and Recovery
09:07 Rate Negotiations and Holding the Line
10:06 Outsourcing and Global Rates
12:11 Impact of Strikes on Crew
15:04 Embracing AI and Automation
39:34 Positioning for Graduates
41:29 Improving Courses and Industry Collaboration
42:54 Networking and Job Search Strategies
47:02 Preventing Future Industry Disruptions
52:03 Introduction to Motus and its Mission
55:03 Staying Connected and Informed
57:04 Closing Remarks and Future Outlook


Watch the full videos
📣Inside VFX Recruitment with Melissa Blakey, Global Head of Talent at Crafty Apes | TVAP EP53 (Part-1)
https://youtu.be/C6n0zndRPDI
📣Inside VFX Recruitment with Melissa Blakey, Global Head of Talent at Crafty Apes | TVAP EP53 (Part-2)
https://youtu.be/BNXNMo32oes

As always, if you liked this episode, please 👍 like, 📝 comment, 📢 subscribe, and 📣 share!

Listen to all episodes on our website
https://www.thevfxartistspodcast.com/

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Thumbnails copyright to GQ Magazine - https://www.gq-magazine.co.uk/culture/article/hollywood-vfx-industry-breaking-point

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The Man Who Wrote The Book on Compositing with Ron Brinkman | TVAP EP56

When I embarked on my compositing journey, Ron Brinkmann's book, "The Art and Science of Digital Compositing," proved to be an invaluable resource. It provided a wealth of visual information and included a DVD with footage for hands-on practice. Even today, this book remains a seminal work and continues to be relevant for artists, thanks to its emphasis on developing the skill of visual perception.

Therefore, it was a tremendous honor to have Ron Brinkmann as a guest on our show. He served as the Compositing Supervisor at Sony Imageworks for films such as Speed, Contact, James and the Giant Peach, and more. Interestingly, despite being widely recognized for his expertise in compositing, Brinkmann initially started his journey in the field of 3D as a demonstration artist for Wavefront. (Wavefront later merged with Alias and played a significant role in the development of Maya, a renowned software).

Subsequently, Brinkmann co-founded Nothing Real with his colleagues and created Shake, a compositing software that held sway in the industry for many years, particularly in high-end compositing. (I believe it was most recently used by Dneg for their work on Inception).

As always, if you liked this episode, please 👍 like, 📝 comment, 📢 subscribe, and 📣 share!

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This week's guest is co-founder of FXGuide, arguably the first and foremost podcast and blog in our field. He also co-founded FXPhd which was my route into the industry so this was a massive honor for me.

We dive deep into Neural Rendering (which Mike has been involved with since 1999) machine learning and practical applications within visual effects and filmmaking.

We then discuss the ethics of machine learning and art, why there won't "a metaverse" and some of the most likely applications of AR and VR.

This raises some general points about the application of new technology which it would be well of us to heed.

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In this episode with Matt Merkovich of The Matchmoving Company, we talk about the importance of 3D tracking/matchmove in the VFX industry and what it means to be a matchmove artist.

Matt is an expert user of Syntheyes and has been a great influencer in getting it where it is today. He also uses it for almost all of his work, spiralling almost three decades in the VFX industry.

Matt believes #Syntheyes is by far the best 3D tracking software out there and has by far "the best 2D tracking system in the world!", so in this episode, I sit him down to find out why he believes so.

Being a Matchmove artist myself, having been a user of PFTrack in the past and an ongoing user of 3DEqualizer I was very curious to hear why Matt thinks so.

3D tracking or Matchmove as you may call it, ties perfectly with all the other departments in the VFX pipeline, to complete VFX shots in the biggest visual effects movies out there, making this episode an important one, to gain insights from an industry veteran like Matt.

Matt's filmography spars from Minority Report, Star Trek Voyager, Doctor Dolittle 2, The Amazing Spider-Man and more. Here's Matt's IMDB.

Matt's company The Matchmoving Company provides 3D tracking services globally and can currently be reached through https://www.mattmerk.com/

As always, if you liked this episode, please 👍 like, 📝 comment, 📢 subscribe, and 📣 share!

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Watch our other videos
📣The Importance of Matchmove within the VFX pipeline | TVAP EP54 (P-1)
📣Inside VFX Recruitment with Melissa Blakey, Global Head of Talent at Crafty Apes | TVAP EP53 (P-1)
📣Inside VFX Recruitment with Melissa Blakey, Global Head of Talent at Crafty Apes | TVAP EP53 (P-2)
📣Behind The Desk with Hugo Guerra | TVAP EP47

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Chapters
00:00:00 Coming Up
00:02:19 Introductions
00:03:54 Who is Matt Merkovich
00:07:17 Where my interest for film originated
00:14:59 From Lightwave to Matchmoving on Minority Report
00:23:28 Minority Report Matchmoving Pipeline in the 2000's
00:26:24 Evolution of Aspect Ratios
00:30:18 Comparing Syntheyes, 3dequalizer, Boujou, PFTrack and more
00:35:13 Good & Bad Tracking Markers
00:38:54 Staying relevant in an evolving industry
00:44:36 Being a VFX artist in the mid 90's
00:46:45 Shot talk - Challenges
00:48:38 The future of 3D tracking
00:53:41 Comparing 3dequalizer and Syntheyes
01:01:01 Matchmove Artists - The underappreciated department
01:03:53 About The Matchmoving Company
01:04:11 Unionize the VFX industry
01:04:11 Conclusion

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Inside VFX Recruitment with Melissa Blakey, Global Head of Talent at Crafty Apes | TVAP EP53 (P-1)

For many VFX Recruitment is a bit of a black box - we send off our reels and CV and then hope for the best. This week we go behind the curtain with Crafty Apes, Global Head of talent, Melissa Blakey.

We cover Melissa's own fascinating career - she started working on-set before moving into post and then worked for almost 20 years in VFX Production before moving into Recruitment! We discuss why she decided a career on set was not for her and start to unpick the way recruiters and VFX houses select candidates.

Next we laser in on her best practices for candidates as well as the Crafty Apes philosophy for hiring and retaining staff.

WFH resumes, showreel interviews, changing departments we will be discussing all this and more.

Unusually for many VFX Houses, Crafty Apes tends to focus on Generalists and on permanent positions so we go into what that means in a market largely dominated by specialists and freelancing.

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