We recently reached out to Marcel Lemme to find out more about how he works, his background and how he relaxes.
What is your job title and where are you based?
I’m a senior compositing artist based out of Hamburg, Germany.
What does your job entail?
I spend about 90 percent of my time working on commercial jobs for local and international companies like BMW, Audi and Nestle, but also dabble in feature films, corporate videos and music videos. On a regular day, I’m handling everything from job breakdowns to set supervision to conform. I’m also doing shot management for the team, interacting with clients, showing clients work and some compositing. Client review sessions and final approvals are regular occurrences for me too.
What would surprise people the most about the responsibilities that fall under that title?
When it comes to client attended sessions, you have to be part clown, part mind-reader. Half the job is being a good artist; the other half is keeping clients happy. You have to anticipate what the client will want and balance that with what you know looks best. I not only have to create and keep a good mood in the room, but also problem-solve with a smile.
What’s your favorite part of your job?
I love solving problems when compositing solo. There’s nothing better than tackling a tough project and getting results you’re proud of.
What’s your least favorite?
Sometimes the client isn’t sure what they want, which can make the job harder.
What’s your most productive time of day?
I’m definitely not a morning guy, so the evening — I’m more productive at night.
If you didn’t have this job, what would you be doing instead?
I’ve asked myself this question a lot, but honestly, I’ve never come up with a good answer.
How’d you get your first job, and did you know this was your path early on?
I fell into it. I was young and thought I’d give computer graphics a try, so I reached out to someonewho knew someone, and before I knew it I was interning at a company in Hamburg, which is how I came to know online editing. At the time, Quantel mostly dominated the industry with Editbox and Henry, and Autodesk Flame and Flint were just emerging. I dove in and started using all the technology I could get my hands on, and gradually started securing jobs based on recommendations.
Which tools are you using today, and why?
I use whatever the client and/or the project demands, whether it’s Flame or Foundry’s Nuke and for tracking I often use The Pixel Farm PFTrack and Boris FX Mocha. For commercial spots, I’ll do a lot of the conform and shot management on Flame and then hand off the shots to other team members. Or, if I do it myself, I’ll finish in Flame because I know I can do it fast.
I use Flame because it gives me different ways to achieve a certain look or find a solution to a problem. I can also play a clip at any resolution with just two clicks in Flame, which is important when you’re in a room with clients who want to see different versions on the fly. The recent open clip updates and python integration have also saved me time. I can import and review shots, with automatic versions coming in, and build new tools or automate tedious processes in the post chain that have typically slowed me down.
Tell us about some recent project work.
I recently worked on a project for BMW as a compositing supervisor and collaborated with eight other compositors to finish number of versions in a short amount of time. We did shot management, compositing, reviewing, versioning and such in Flame. Also individual shot compositing in Nuke and some tracking in Mocha Pro.
What is the project that you are most proud of?
There’s no one project that stands out in particular, but overall, I’m proud of jobs like the BMW spots, where I’ve led a team of artists and everything just works and flows. It’s rewarding when the client doesn’t know what you did or how you did it, but loves the end result.
Where do you find inspiration for your projects?
The obvious answer here is other commercials, but I also watch a lot of movies and, of course, spend time on the Internet.
Name three pieces of technology you can’t live without.
The off button on the telephone (they should really make that bigger), anything related to cinematography or digital cinema, and streaming technology.
What social media channels do you follow?
I’ve managed to avoid Facebook, but I do peek at Twitter and Instagram from time to time. Twitter can be a great quick reference for regional news or finding out about new technology and/or industry trends.
Do you listen to music while you work?
Less now than I did when I was younger. Most of the time, I can’t as I’m juggling too much and it’s distracting. When I listen to music, I appreciate techno, classical and singer/song writer stuff; whatever sets the mood for the shots I’m working on. Right now, I’m into Iron and Wine and Trentemøller, a Danish electronic music producer.
How do you de-stress from the job?
My drive home. It can take anywhere from a half an hour to an hour, depending on the traffic, and that’s my alone time. Sometimes I listen to music, other times I sit in silence. I cool down and prepare to switch gears before heading home to be with my family.