Working in Teams (ILM Super Series)
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It was good and a smoothed things out. Animal Logic was the big dog in town. We were an upstart place. We were mostly doing commercials. I think Animal ended up doing some of the work. At least, they go their foot in the door. And that was about the time I started talking to ILM. I just happened [to go to this] giant party ILM and Maya sponsored. That was a great era! When I started at ILM, there were about 30 people. Over the course of the year, it went up to about a hundred. That was about the time they were doing Casper and all of the post- Jurassic films. My first film there was Star Trek: Generations.
It just kept growing and growing. I think we ended up with something like a thousand people by the time we got to those Star Wars prequels. All the star visual effects artists were the rockstars of the 90s. It spoiled us.
Focus On Change - Case Studies
Sometimes, instead of you getting the credit, the studio may get the credit. ILM is really great at making sure everyone gets their credit. The work is much more spread around the world than it used to be. It is harder for artists. ILM tends to have perspective, but everyone is aware of the toll. When I got hired, we were all project hires. We also did miniatures. You were pretty secure there for a few years. Some of my colleagues and I are lucky to have [such a stable environment]. We are uniquely talented artists who are fast. We now have branches in Vancouver and Singapore.
I just moved to Portland after 15 years in LA. Everyone else has a chance to have the piece of the pie. There is good and bad with that. There is much more demand.
But the playing field has gotten much more level. It becomes a commoditization. If you get a message from the director, how do you get it to the artist as accurately as possible? Maybe in the 90s, we had a lot of direct contact. It becomes a big communication game. Where did the miscommunication happen? One of the tools that I use as a VFX Sup is to pitch ideas to the director so that there is some to-and-fro. I love Galaxy Quest as a film. That was an interesting project, it was my first supervising project. I had a lot to do with the creature shots.
It was a fun film, it was fun to go on set. I had my own unit. They were trying to do it as efficiently as possible:. There was a lot of exploration going on. What he said would go. It was a great experience. I also have a great time with the Weta folks on King Kong. Great team of people! Several of them I knew from ILM. I was doing other projects at the same time. There was a good relationship there.
I found it really exciting! He really draws it out of you. What was it like working on that film? I always find it interesting when you work on non-typical VFX films. Someone like Robert Zemeckis is really confident with visual effects but at the same time, their films are of a different caliber. What was that like? I had just done Avengers. You go to a low-budget film.
In this case, Dan Schrecker who was the Sup on Noah was working with editorial. I was doing The Great Wall in Singapore. I flew over, they had 3 units going. It was a very different experience: I had to remember how to program my own camera. I fit right in. By the time I got there, we were doing really long days. There was such energy about it, it was really exciting. When we got into post, we ended up doing most of the work in Singapore. The team I had over there was small but really good! Then we ended up doing some other shots, which we did in Montreal.
It worked out quite well. It felt like being part of the family. And of course, the film is interesting in terms of the polarizing effect of it. Ben: We have a really great team! I wanted to match the material. The thing that you miss is not having a really strong set of compositing tools. Ben: This is about exploring the VR medium. I see realtime being really important for visual effects. We already see that with certain systems.
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One of the things I value is getting more comfortable dealing with those concepts and efficiencies. One of the most interesting aspects is the creative involvement we have in the storytelling, the performance issues, script even. I was talking about this at dinner. And if there are rules, you should probably ignore them and try that crazy idea. One of the first things I did was a movie, really, which was a speed bike ride that was tied to Episode 7.
And that we did with a small team. But they would try it anyway. There are all these stages of saying this is the right way, and this is the wrong way. Ben: You have to be willing to put it out there. But I working with other artists who [were able to] shoot from the hip, try this and that — and then would get really good results. And I thought, wow, I have to be less precious. In this day and age, you have to do things right, or it will cost you in the long run. Like, working on m other!
PDF Leading Your Team (ILM Super Series)
It is different when you get to a more abstract project. Do you handpick the Leads and other Sups to work with? Of course, there are always artists who are in demand for every single show. But then there are artists who are not a go-to everyone, so they end up being someone you can rely on. One great things about ILM is Production Managers here try to be fair and spread the work across a project really well. I like working with people who are really talented. Even Noah , it was split between San Francisco and Singapore which was amazing! I now know it to be true: You end up making these alliances with vendors.
I do a lot of video captures and talking through the work. And I got really good at writing notes! The reason I left LA is because even when I was working with a studio three doors down, I would still be working at my desk, in my pipeline. So I was always obsessed by that. Obviously, you have the had the pod for a while.
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For you, what do you find works really effectively: either communication wise or having work done remotely all over the world? One of the things that was odd for me — when I was doing the shots for The Great Wall and went off to do m other! What I would do:. There was a terrific presentation a third party vendor did for us and it was really funny. But beer was the thing: You have to fly over and go down to the pub or socialize with these people so that you understand there are people on the other end [of the communication].
When I went to work on The Great Wall , it really worked! It allows me to take a real quick review and give feedback. I can go shot by shot on my laptop. I was helping on a Michael Bay film. Having the direct contact helps everyone to get on okay.
Leading Your Team Super Series, Fourth Edition (ILM Super Series)
I remember your talking about a bunch of the tests. For you spending so much time at ILM and then going to Weta, how did the two pipelines compare? Were those two places similar in terms of workflow? We decided we wanted to use Scott Benza. Joe championed us: Pearl Harbor was a film on which we were starting to use Ambient Occlusion techniques. I really wanted to work on King Kong. I was a huge fan of the 30s version.