Tag Archives: VFX

Rick Pearson on cutting Kong: Skull Island

By Randi Altman

Who doesn’t love a good King Kong movie? And who says a good King Kong movie has to have the hairy giant climbing the Empire State Building, lady in hand?

The Jordan Vogt-Roberts-directed Kong: Skull Island, which had an incredible opening weekend at the box office — and is still going strong — tells the story of a 1973 military expedition to map out an island where in 1944 two downed pilots happened upon a huge monster. What could possibly go wrong?

Editor Rick Pearson, who was originally set to come on board for 10 weeks during the Director’s Cut process to help with digital effects turnovers, ended up seeing the project through to the end. Pearson came on during the last third of production, as the crew was heading off to Vietnam.

The process was already in place where rough cuts were shared on the PIX system for the director’s review. That seemed to be work well, he says.

To find out more about the process, I recently touched base with Pearson, who at the time of our interview was in Budapest editing a film about the origin of Robin Hood. He kindly took time out of his busy schedule to talk about his work and workflow on Kong: Skull Island, which in addition to Vietnam shot in Hawaii and Australia.

Would director Vogt-Roberts get you notes? Did he give you any direction in terms of the cut?
Yes, he would give very specific notes via PIX. He would drop the equivalent of locators or markers on sequences that I would send him and say, “Could you maybe try a close-up here?” Or “Could you try this or that?” They were very concise, so that was helpful. Eventually, though, you get to a point where you really need to be in a room together to explore options.

There are a lot of visual effects in the film. Can you talk about how that affected your edit and workflow?
Some of the sequences were quite evolved in terms of previsualization that had been done a year or more prior. Then there was a combination of previs, storyboards and some sequences, one in particular had kind of a loose set of storyboards and some previs, but then the set piece was evolving as we were working.

The production was headed to Vietnam and there was a lot of communication between myself, Jordan and the producers about trying to nail down the structure of this set piece so they would know what to shoot in terms of plates, because it was a battle that largely took place between Kong and one of the creatures of the island — it was a lot of plate work.

Would you say that that was the most difficult sequence to work on, or is there another more challenging sequence that you could point to?
I think they were all challenging. For me, that last sequence, which we called the “Final Battle” was challenging in there was not a lot that was nailed down. There were some beats we knew we wanted to try to play, but it sort of kept evolving. I enjoy working on these kinds of films with those types of sequences because they’re so malleable. It’s a fun sandbox to play in because, to an extent, you’re limited only by your imagination.

Still, you’re committing a lot of money, time and resources, so you need to look down field as far as you can to say, “This is the right direction and we’re all on the same page.” It’s a big, slow-moving, giant cargo ship that takes a long time to course-correct. You want to make sure that you’re heading in the right direction, or at least as close as you can be, when you start going down those roads.

Any other shots that stand out?
There was one thing that was kind of a novelty on this picture — and I know that it’s not the first time it’s been done, but it was the first time for me. We had some pretty extensive re-shoots, but our cast was kind of spread all over the globe. In one of the re-shoots, we needed a conversation to happen in a bar between three of the characters, Tom Hiddelston, John Goodman and Cory Hawkins. None of them were available at the same time or in the same city.

The scene was going to the three of them sitting down at a table having a conversation where John Goodman’s character offers Tom Hiddelston’s character a job as their guide to take them to Skull Island. I think it was Goodman’s character that was shot first. We show Goodman’s side of the table in New York with that side of the bar behind him and an empty chair beside him. Then we shot Hawkin’s character by himself in front of a greenscreen sitting in a chair reacting to Goodman and delivering his dialogue. Lastly, we shot Hiddelston in LA with that side of the bar and overs with doubles. It all came together, and I thought, “I don’t think anybody would have a clue that none of these people were in the same room at the same time.” It was kind of a Rubik’s Cube… an editorial bit of sleight of hand that worked in the end.


You worked with other editors on the film, correct?
Yes, editor Bob Murawski helped me tremendously; he ended up taking over my original role, which was during the Director’s Cut. Bob came on to help split up these really demanding visual effects sequence turnovers every two weeks. We had to keep on it to make the release date.

Murawski was a huge help, but so was the addition of Josh Schaeffer, who had worked with Jordan in the past. He was one of the additional editors on Jordan’s Kings of Summer (2013). Jordan had shot a lot of material — it wasn’t necessarily montage-based, but we weren’t entirely sure how it was going to work in the picture. We knew that he had a long-standing relationship with Josh and was comfortable with him. Bob said, “While we’re in the middle of a Director’s Cut and you and I are trying to feed this giant visual effects beast, there’s also this whole other aspect that Jordan and Josh could really focus on.” Josh was a really big help in getting us through the process. Both Bob and Josh were very big assets to me.

How do you work with your assistant editor?
I’ve had the same first assistant, Sean Thompson, for about 12 years. Unfortunately, he’s not with me here in Budapest. I took this film after the original editor dropped out for health reasons. Sean has a young family, and 15 weeks in Budapest and then another 12 weeks in London just wasn’t possible for him.

How did you work with Sean on Skull Island?
He’s a terrific manager of the cutting room in terms of discerning the needs of other departments, be it digital effects, music or sound. I lean on him to let me know what I absolutely need to know, and he takes care of the rest. That’s one of the roles he serves, and he’s bulletproof.

I also rely on him creatively. He’s tremendous with his sound work and very good at looking at cuts with me and giving his feedback. I throw him scenes to cut as much as I can, but sometimes on films like this there are so many other demands as a manager.

You use Avid Media Composer. Any special keyboard mappings, or other types of work you provide?
As a feature film editor my main objective is to make sure that the story and the characters are firing on all cylinders. I’m not particularly interested in how far I can push the box technically.

I’ve mapped the keyboard to what I’m comfortable with, but I don’t think it’s anything that’s particularly sophisticated. I try to do as much as I can on the keyboard so that I keep the
pointing and clicking to a minimum.

You edit a lot of action films. Is that just because people say, “He does action,” or is that your favorite kind of film to cut?
It’s interesting you should say that… the first Hollywood feature I cut was Bowfinger, which is comedy. I hadn’t cut any comedy before that and suddenly I was the comedy editor. I found it ironic because everything I had done prior was action-based television, music videos and commercials. I’ve always loved cutting action and juxtaposing images in a way that tells a story that’s not necessarily being told verbally. It’s not just like, “Wow, look at how much stuff is blowing up and that’s amazing how many cars are involved.” It’s actually character-based and story-driven.

I also really enjoy comedy. There is quite a lot of comedy in Kong, so it’s nice to flex that muscle too. I’ve tried very hard to not get pigeonholed.

So you are knee-deep in this Robin Hood film?
I sure am! I wasn’t planning on getting back on to another film quite so quickly, but I was very intrigued by both the director and script. As I mentioned earlier, they had an editor slated for the picture but unfortunately she fell ill just weeks prior to the start of production. So suddenly, here I am.

The added bonus is you get to play in Europe for a bit.
Yes, actually, I’m sitting here in my apartment. I have a laptop and an additional monitor and I’ve been cutting scenes. I have a lovely view of the parliament building, which is on the Danube. It’s a beautiful domed building that’s lit up every night until midnight. It’s really kind of cool.

The VFX Industry: Where are the women?

By Jennie Zeiher

As anyone in the visual effects industry would know, Marvel’s Victoria Alonso was honored earlier this year with the Visual Effects Society Visionary Award. Victoria is an almighty trailblazer, one of whom us ladies can admire, aspire to and want to be.

Her acceptance speech was an important reminder to us of the imbalance of the sexes in our industry. During her speech, Victoria stated: “Tonight there were 476 of you nominated. Forty-three of which are women. We can do better.”

Over the years, I’ve had countless conversations with industry people — executives, supervisors and producers — about why there are fewer women in artist and supervisory roles. A recent article in the NY Times suggested that female VFX supervisors made up only five percent of the 250 top-grossing films of 2014. Pretty dismal.

I’ve always worked in male-dominated industries, so I’m possibly a bit blasé about it. I studied IT and worked as a network engineer in the late ‘90s, before moving to the United States where I worked on 4K digital media projects with technologists and scientists. One of a handful of women, I was always just one of the boys. To me it was the norm.

Moving into VFX about 10 years ago, I realized this industry was no different. From my viewpoint, I see about 1/8 ratio of female to male artists. The same is true from what I’ve seen through our affiliated training courses. Sadly, I’ve heard of some facilities that have no women in artist roles at all!

Most of the females in our industry work in other disciplines. At my workplace, Australia’s Rising Sun Pictures, half of our executive members are women (myself included), and women generally outweigh men in indirect overhead roles (HR, finance, administration and management), as well as production management.

Women bring unique qualities to the workplace: they’re team players, hard working, generous and empathetic. Copious reports have found that companies that have women on their board of directors and in leadership positions perform better than those that don’t. So in our industry, why do we see such a male-dominated artist, technical and supervisory workforce?

By no means am I undervaluing the women in those other disciplines (we could not have functioning businesses without them), I’m just merely trying to understand why there aren’t more women inclined to pursue artistic jobs and, ultimately, supervision roles.

I can’t yet say that one of the talented female artists I’ve had the pleasure of working with over the years has risen to the ranks of being a VFX supervisor… and that’s not to say that they couldn’t have, just that they didn’t, or haven’t yet. This is something that disappoints me deeply. I consider myself a (liberal) feminist. Someone who, in a leadership position, wants to enable other women to become the best they can be and to be equal among their male counterparts.
So, why? Where are the women?

Men and Women Are Wired Differently
A study by LiveScience suggests men and women really are wired differently. It says,  “Male brains have more connections within hemispheres to optimize motor skills, whereas female brains are more connected between hemispheres to combine analytical and intuitive thinking.”

Apparently this difference is at its greatest during the adolescent years (13-17 years), however with age these differences get smaller. So, during the peak of an adolescent girl’s education, she’s more inclined to be analytical and intuitive. Is that a direct correlation to them not choosing a technical vocation? But then again I would have thought that STEM/STEAM careers would be something of interest to girls if they’re brains are wired to be analytical?

This would also explain women having better organizational and management skills and therefore seeking out more “indirectly” associated roles.

Lean Out
For those women already in our industry, are they too afraid to seek out higher positions? Women are often more self-critical and self-doubting. Men will promote themselves and dive right in, even if they’re less capable. I have experienced this first hand and didn’t actual recognize it in myself until I read Sheryl Sandberg’s Lean In.

Or, is it just simply that we’re in a “boys club” — that these career opportunities are not being presented to our female artists, and that we’d prefer to promote men over women?

The Star Wars Factor
Possibly one of the real reasons that there is a lack of women in our industry is what I call “The Star Wars factor.” For the most part, my male counterparts grew up watching (and being inspired by) Star Wars and Star Trek, whereas, personally, I was more inclined to watch Girls Just Want to Have Fun and Footloose. Did these adolescent boys want to be Luke or Han, or George for that matter? Were they so inspired by John Dykstra’s lightsabers that they wanted to do THAT when they grew up? And if this is true, maybe Jyn, Rae and Captain Marvel —and our own Captain Marvel, Victoria Alonso — will spur on a new generation of women in the industry. Maybe it’s a combination of all of these factors. Maybe it’s none.

I’m very interested in exploring this further. To address the problem, we need to ask ourselves why, so please share your thoughts and experiences — you can find me at jz@vfxjz.com. At least now the conversation has started.

One More Thing!
I am very proud that one of my female colleagues, Alana Newell (pictured with her fellow nominees), was nominated for a VES Award this year for Outstanding Compositing in a Photoreal Feature for X-Men: Apocalypse. She was one of the few, but hopefully as time goes by that will change.

Main Image: The woman of Rising Sun Pictures.
——–

Jennie Zeiher is head of sales & business development at Adelaide, Australia’s Rising Sun Pictures.

The A-list — Kong: Skull Island director Jordan Vogt-Roberts

By Iain Blair

Plucky explorers! Exotic locations! A giant ape! It can only mean one thing: King Kong is back… again. This time, the new Warner Bros. and Legendary Pictures’ Kong: Skull Island re-imagines the origin of the mythic Kong in an original adventure from director Jordan Vogt-Roberts (The Kings of Summer).

Jordan Vogt-Roberts

With an all-star cast that includes Tom Hiddleston, Samuel L. Jackson, Oscar-winner Brie Larson, John Goodman and John C. Reilly, it follows a diverse team of explorers as they venture deep into an uncharted island in the Pacific — as beautiful as it is treacherous — unaware that they’re crossing into the domain of the mythic Kong.

The legendary Kong was brought to life on a whole new scale by Industrial Light & Magic, with two-time Oscar-winner Stephen Rosenbaum (Avatar, Forrest Gump) serving as visual effects supervisor.

To fully immerse audiences in the mysterious Skull Island, Vogt-Roberts, his cast and filmmaking team shot across three continents over six months, capturing its primordial landscapes on Oahu, Hawaii — where shooting commenced on October 2015 — on Australia’s Gold Coast and, finally, in Vietnam, where production took place across multiple locations, some of which have never before been seen on film. Kong: Skull Island was released worldwide in 2D, 3D and IMAX beginning March 10.

I spoke with Vogt-Roberts about making the film and his love of post.

What’s the eternal appeal of doing a King Kong movie?
He’s King Kong! But the appeal is also this burden, as you’re playing with film history and this cinematic icon of pop culture. Obviously, the 1933 film is this impeccable genre story, and I’m a huge fan of creature features and people like Ray Harryhausen. I liked the idea of taking my love for all that and then giving it my own point of view, my sense of style and my voice.

With just one feature film credit, you certainly jumped in the deep end with this — pun intended — monster production, full of complex moving parts and cutting-edge VFX. How scary was it?
Every movie is scary because I throw myself totally into it. I vanish from the world. If you asked my friends, they would tell you I completely disappear. Whether it’s big or small, any film’s daunting in that sense. When I began doing shorts and my own stuff, I did shooting, the lighting, the editing and so on, and I thrived off all that new knowledge, so even all the complex VFX stuff wasn’t that scary to me. The truly daunting part is that a film like this is two and a half years of your life! It’s a big sacrifice, but I love a big challenge like this was.

What were the biggest challenges, and how did you prepare?
How do you make it special —and relevant in 2017? I’m a bit of a masochist when it comes to a challenge, and when I made the jump to The Kings of Summer it really helped train me. But there are certain things that are the same as they always are, such as there’s never enough time or money or daylight. Then there are new things on a movie of this size, such as the sheer endurance you need and things you simply can’t prepare yourself for, like the politics involved, all the logistics and so on. The biggest thing for me was, how do I protect my voice and point of view and make sure my soul is present in the movie when there are so many competing demands? I’m proud of it, because I feel I was able to do that.

How early on did you start integrating post and all the VFX?
Very early on — even before we had the script ready. We had concept artists and began doing previs and discussing all the VFX.

Did you do a lot of previs?
I’m not a huge fan of it. Third Floor did it and it’s a great tool for communicating what’s happening and how you’re going to execute it, but there’s also that danger of feeling like you’re already making the movie before you start shooting it. Think of all the great films like Blade Runner and the early Star Wars films, all shot before they even had previs, whereas now it’s very easy to become too reliant on it; you can see a movie sequence where it just feels like you’re watching previs come to life. It’s lost that sense of life and spontaneity. We only did three previs sequences — some only partially — and I really stressed with the crew that it was only a guide.

Where did you do the post?
It was all done at Pivotal in Burbank, and we began cutting as we shot. The sound mix was done at Skywalker and we did our score in London.

Do you like the post process?
I love post. I love all aspects of production, but post is where you write the film again and where it ceases being what was on the page and what you wanted it to be. Instead you have to embrace what it wants to be and what it needs to be. I love repurposing things and changing things around and having those 3am breakthroughs! If we moved this and use that shot instead, then we can cut all that.

You had three editors — Richard Pearson, Bob Murawski and Josh Schaeffer. How did that work?
Rick and Bob ran point, and Rick was the lead. Josh was the editor who had done The Kings of Summer with me, and my shorts. He really understands my montages and comedy. It was so great that Rick and Bob were willing to bring him on, and they’re all very different editors with different skills — and all masters of their craft. They weren’t on set, except for Hawaii. Once we were really globe-trotting, they were in LA cutting.

VFX play a big role. Can you talk about working on them with VFX supervisor Jeff White and ILM, who did the majority of the effects work?
He ran the team there, and they’re all amazing. It was a dream come true for me. They’re so good at taking kernels of ideas and turning them into reality. I was able to do revisions as I got new ideas. Creating Kong was the big one, and it was very tricky because the way he moves isn’t totally realistic. It’s very stylized, and Jeff really tapped into my animé and videogame sensibility for all that. We also used Hybride and Rodeo for some shots.

What was the hardest VFX sequence to do?
The helicopter sequence was really very difficult, juggling the geography of that, with this 100-foot creature and people spread all over the island, and also the final battle sequence. The VFX team and I constantly asked ourselves, “Have we seen this before? Is it derivative? Is it redundant?” The goal was to always keep it fresh and exciting.

Where did you do the DI?
At Fotokem with colorist Dave Cole who worked on The Lord of the Rings and so many others. I love color, and we did a lot of very unusual stuff for a movie like this, with a lot of saturation.

Did the film turn out the way you hoped?
A movie never quite turns out the way you hope or think it will, but I love the end result and I feel it represents my voice. I’m very proud of what we did.


Industry insider Iain Blair has been interviewing the biggest directors in Hollywood and around the world for years. He is a regular contributor to Variety and has written for such outlets as Reuters, The Chicago Tribune, The Los Angeles Times and the Boston Globe.

Recreating history for Netflix’s The Crown

By Randi Altman

If you, like me, binge-watched Netflix’s The Crown, you are now considerably better educated on the English monarchy, have a very different view of Queen Elizabeth, and were impressed with the show’s access to Buckingham Palace.

Well, it turns out they didn’t actually have access to the Palace. This is where London-based visual effects house One of Us came in. While the number of shots provided for the 10-part series varied, the average was 43 per episode.

In addition to Buckingham Palace, One of Us worked on photoreal digital set extensions, crowd replications and environments, including Downing Street and London Airport. The series follows a young Elizabeth who inherits the crown after her father, King George VI, dies. We see her transition from a vulnerable young married lady to a more mature woman who takes her role as head monarch very seriously.

We reached out to One of Us VFX supervisor Ben Turner to find out more.

How early did you join the production?
One of Us was heavily involved during an eight-month pre-production process, until shooting commenced in July 2015.

Ben Turner

Did they have clear vision of what they needed VFX vs. practical?
As we were involved from the pre-production stage, we were able to engage in discussions about how best to approach shooting the scenes with the VFX work in mind. It was important to us and the production that actors interacted with real set pieces and the VFX work would be “thrown away” in the background, not drawing attention to itself.

Were you on set?
I visited all relevant locations, assisted on set by Jon Pugh who gathered all VFX data required. I would attend all recces at these locations, and then supervise on the shoot days.

Did you do previs? If so, what software did you use?
We didn’t do much previs in the traditional sense. We did some tech-vis to help us figure out how best to film some things, such as the arrivals at the gates of Buckingham Palace and the Coronation sequence. We also did some concept images to help inform the shoot and design of some scenes. This work was all done in Autodesk Maya, The Foundry’s Nuke and Adobe Photoshop.

Were there any challenges in working in 4K? Did your workflow change at all, and how much of your work currently is in 4K?
Working in 4K didn’t really change our workflow too much. At One of Us, we are used to working on film projects that come in all different shapes and sizes (we recently completed work on Terrance Mallick’s Voyage of Time in IMAX 5K), but for The Crown we invested in the infrastructure that enabled us to take it in our stride — larger and faster disks to hold the huge amounts of data, as well as a new 4K monitor to review all the work.

     

What were some of your favorite, or most challenging, VFX for the show?
The most challenging work was the kind of shots that many people are already very familiar with. So the Queen’s Coronation, for example, was watched by 20 million people in 1953, and with Buckingham Palace and Downing Street being two of the most famous and recognizable addresses in the world, there wasn’t really anywhere for us to hide!

Some of my favorite shots are the ones where we were recreating real events for which there are amazing archive references, such as the tilt down on the scaffolding at Westminster Abbey on the eve of the Coronation, or the unveiling of the statue of King George VI.

     

Can you talk about the tools you used, and did you create any propriety tools during the workflow?
We used Enwaii and Maya for photogrammetry, Photoshop for digital matte painting and Nuke for compositing. For crowd replication we created our own in-house 2.5D tool in Nuke, which was a card generator that gave the artist a choice of crowd elements, letting them choose the costume, angle, resolution and actions required.

What are you working on now?
We are currently hard at work on Season 2 of The Crown, which is going to be even bigger and more ambitious, so watch this space! Recent work also includes King Arthur: Legend Of The Sword (Warner Bros.) and Assassin’s Creed (New Regency).

Andrew Bell named MD at Boston’s Brickyard VFX, Amy Appleton now EP

Andrew Bell has been named managing director of Brickyard VFX in Boston, known as Brickyard VFX Atlantic. The studio has also promoted long-time senior VFX producer Amy Appleton to executive producer.

Bell comes to Brickyard from MPC, where he spent more than 15 years, most recently as a managing director of MPC Los Angeles. He began his career in 1999 as a PA with MPC in London, working his way up through the company, handling production responsibilities for several years before coming to LA in 2008 to help open the studio’s first expansion facility in Los Angeles as head of production. Bell became the managing director in 2011, a role he held until fall 2016, when he began consulting for Apple.

Appleton has been at Brickyard for 10 years, producing hundreds of projects for clients such as Frito-Lay, Progressive Insurance, Cadillac, Columbia Sportswear and Royal Caribbean.

In addition to the management moves, Brickyard’s East Coast studio has recently upgraded its technology infrastructure and is installing a grand roof deck with views of the downtown Boston skyline.

“We have just received four Flame workstations featuring dual 12-core 3GHz processors and the new Nvidia P6000 graphics cards,” reports Brickyard founder Dave Waller. “For our VR department, we’ve upgraded to Cari 1.04 from The Foundry, and to improve efficiencies in our Data Center, we’re moving our archiving workflow over to LTO-7 tape system. This will more than double the speed at which we archive and restore our work. All these improvements will enable us to respond to our dear clients’ requests even faster.”

Alkemy X adds creative director Geoff Bailey

Alkemy X, which offers live-action production, design, high-end VFX and post services, has added creative director Geoff Bailey to its New York office, which has now almost doubled in staff. The expansion comes after Alkemy X served as the exclusive visual effects company on M. Night Shyamalan’s Split.

Alkemy X and Bailey started collaborating in 2016 when the two worked together on a 360 experiential film project for EY (formerly Ernst & Young) and brand consultancy BrandPie. Bailey was creative director on the project, which was commissioned for EY’s Strategic Growth Forum held in Palm Desert, California, last November. The project featured Alkemy X’s live-action, VFX, animation, design and editorial work.

“I enjoy creating at the convergence of many disciplines and look forward to leveraging my branding knowledge to support Alkemy X’s hybrid creation pipeline — from ideation and strategy, to live-action production, design and VFX,” says Bailey.

Most recently, Bailey was a creative director at Loyalkaspar, where he creatively led the launch campaign for A&E’s Bates Motel. He also served as creative director/designer on the title sequence for the American launch of A&E’s The Returned, and as CD/director on a series of launch spots for the debut of Vice Media’s TV channel Viceland.

Prior to that, Bailey freelanced for several New York design firms as a director, designer and animator. His freelance résumé includes work for HBO, Showtime, Hulu, ABC, Cinemax, HP, Jay-Z, U2, Travel Channel, Comedy Central, CourtTV, Fuse, AMC Networks, Kiehl’s and many more. Bailey holds an MFA in film production from Columbia University.

Quick Chat: Brent Bonacorso on his Narrow World

Filmmaker Brent Bonacorso has written, directed and created visual effects for The Narrow World, which examines the sudden appearance of a giant alien creature in Los Angeles and the conflicting theories on why it’s there, what its motivations are, and why it seems to ignore all attempts at human interaction. It’s told through the eyes of three people with differing ideas of its true significance. Bonacorso shot on a Red camera with Panavision Primo lenses, along with a bit of Blackmagic Pocket Cinema Camera for random B-roll.

Let’s find out more…

Where did the idea for The Narrow World come from?
I was intrigued by the idea of subverting the traditional alien invasion story and using that as a way to explore how we interpret the world around us, and how our subconscious mind invisibly directs our behavior. The creature in this film becomes a blank canvas onto which the human characters project their innate desires and beliefs — its mysterious nature revealing more about the characters than the actual creature itself.

As with most ideas, it came to me in a flash, a single image that defined the concept. I was riding my bike along the beach in Venice, and suddenly in my head saw a giant Kaiju as big as a skyscraper sitting on the sand, gazing out at the sea. Not directly threatening, not exactly friendly either, with a mutual understanding with all the tiny humans around it — we don’t really understand each other at all, and probably never will. Suddenly, I knew why he was here, and what it all meant. I quickly sketched the image and the story followed.

What was the process like bringing the film to life as an independent project?
After I wrote the script, I shot principal photography with producer Thom Fennessey in two stages – first with the actor who plays Raymond Davis (Karim Saleh) and then with the actress playing Emily Field (Julia Cavanaugh).

I called in a lot of favors from my friends and connections here in LA and abroad — the highlight was getting some amazing Primo lenses and equipment from Panavision to use because they love Magdalena Górka’s (the cinematographer) work. Altogether it was about four days of principal photography, a good bit of it guerrilla style, and then shooting lots of B-roll all over the city.

Kacper Sawicki, head of Papaya Films which represents me for commercial work in Europe, got on board during post production to help bring The Narrow World to completion. Friends of mine in Paris and Luxembourg designed and textured the creature, and I did the lighting and animation in Maxon Cinema 4D and compositing in Adobe After Effects.

Our editor was the genius Jack Pyland (who cut on Adobe Premiere), based in Dallas. Sound design and color grading (via Digital Vision’s Nucoda) were completed by Polish companies Głośno and Lunapark, respectively. Our composer was Cedie Janson from Australia. So even though this was an indie project, it became an amazing global collaborative effort.

Of course, with any no-budget project like this, patience is key — lack of funds is offset by lots of time, which is free, if sometimes frustrating. Stick with it — directing is a generally a war of attrition, and it’s won by the tenacious.

As a director, how did you pull off so much of the VFX work yourself, and what lessons do you have for other directors?
I realized early on in my career as a director that the more you understand about post, and the more you can do yourself, the more you can control the scope of the project from start to finish. If you truly understand the technology and what is possible with what kind of budget and what kind of manpower, it removes a lot of barriers.

I taught myself After Effects and Cinema 4D in graphic design school, and later I figured out how to make those tools work for me in visual effects and to stretch the boundaries of the short films I was making. It has proved invaluable in my career — in the early stages I did most of the visual effects in my work myself. Later on, when I began having VFX companies do the work, my knowledge and understanding of the process enabled me to communicate very efficiently with the artists on my projects.

What other projects do you have on the horizon?
In addition to my usual commercial work, I’m very excited about my first feature project coming up this year through Awesomeness Films and DreamWorks — You Get Me, starring Bella Thorne and Halston Sage.

Deluxe VFX

Craig Zerouni joins Deluxe VFX as head of technology

Deluxe has named Craig Zerouni as head of technology for Deluxe Visual Effects. In this role, he will focus on continuing to unify software development and systems architecture across Deluxe’s Method studios in Los Angeles, Vancouver, New York and India, and its Iloura studios in Sydney and Melbourne, as well as LA’s Deluxe VR.

Based in LA and reporting to president/GM of Deluxe VFX and VR Ed Ulbrich, Zerouni will lead VFX and VR R&D and software development teams and systems worldwide, working closely with technology teams across Deluxe’s Creative division.

Zerouni has been working in media technology and production for nearly three decades, joining Deluxe most recently from DreamWorks, where he was director of technology at its Bangalore, India-bsed facility overseeing all technology. Prior to that he spent nine years at Digital Domain, where he was first head of R&D responsible for software strategy and teams in five locations across three countries, then senior director of technology overseeing software, systems, production technology, technical directors and media systems. He has also directed engineering, products and teams at software/tech companies Silicon Grail, Side Effects Software and Critical Path. In addition, he was co-founder of London-based computer animation company CFX.

Zerouni’s work has contributed to features including Tron: Legacy, Iron Man 3, Maleficent, X-Men: Days of Future Past, Ender’s Game and more than 400 commercials and TV IDs and titles. He is a member of BAFTA, ACM/SIGGRAPH, IEEE and the VES. He has served on the AMPAS Digital Imaging Technology Subcommittee and is the author of the technical reference book “Houdini on the Spot.”

Says Ulbrich on the new hire: “Our VFX work serves both the features world, which is increasingly global, and the advertising community, which is increasingly local. Behind the curtain at Method, Iloura, and Deluxe, in general, we have been working to integrate our studios to give clients the ability to tap into integrated global capacity, technology and talent anywhere in the world, while offering a high-quality local experience. Craig’s experience leading global technology organizations and distributed development teams, and building and integrating pipelines is right in line with our focus.”

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Quick Chat: Freefolk US executive producer Celia Williams

By Randi Altman

A few months back, UK-based post house Finish purchased VFX studio Realise and renamed the company Freefolk. They also expanded into the US with a New York City-based studio. Industry vet Celia Williams, who was most recently head of production at agency Arnold NY, is heading up Freefolk US. To find out more about the recently rebranded entity, we reached out to Williams.

Can you describe Freefolk? What kind of services do you offer?
Freefolk is a team of creative artists, technicians and problem solvers who use post production as their tool box. We offer services including high-end FilmLight Baselight color grading, remote grading, 2D and 3D visual effects, final conform, shoot supervision, animation, data management and direction of special projects. We work across the mediums of advertising, film, TV and digital content.

L-R: Celia Williams, Paul Harrison and Jason Watts.

What spurred on Freefolk’s expansion to the US?
Having carved out a reputation in London over the last 13 years as a commercials post house, the expansion to the US seemed like a natural progression for the founders, allowing them to export a boutique service and high-quality work rather than becoming another large machine in London.

Will you be offering the same services in both locations?
The services we offer in London will all be represented in New York. Color grading plays such an important role in the process these days, so we are spearheading with a Baselight suite driven by Paul Harrison and 2D VFX department being set up by Jason Watts.

Will you share staff between New York and the UK?
Yes, there will be a sharing of resources and, obviously, experience across the offices. A great thing about opening in New York is being able to offer our staff the experience of working in a foreign city. It also gives clients who are increasingly working across multiple markets a seamless global service.

Why the rebrand from Finish to Freefolk?
The rebrand from Finish to Freefolk came about as part of the expansion into the US and the acquisition of Realise. It was also a timely opportunity to express one of the core values of the company, and the way it values its staff and clients — Freefolk is about the people involved in the process.

What does the acquisition of Realise mean to the company?
Realise has brought a wealth of experience and talent to the table. They combine creative skill and technical understanding in equal measure. They are known in both commercials and now film and TV for offering very specialized capabilities with Side Effects Houdini and customized software.

We have just completed VFX work on 400 shots over 10 episodes of NBC’s Emerald City TV series (due to be released early 2017) and have just embarked on our next long-form project. It’s really exciting to be expanding into other mediums such as TV, film, installation work, projection mapping and other experimental and experiential arenas.

You have an ad agency background. From your own experience how important is that to clients?
It’s extremely important and comforting, actually. Understanding what the producers and creatives are challenged with on a daily basis gives me the ability to offer workable solutions to their problems in a very collaborative way. They don’t have to wonder if I “get” where they’re coming from. Frankly, I do.

I think that it’s emotionally helpful as well. To know someone can be an understanding shoulder to lean on and is taking their concerns seriously is beyond important. Everyone is working at breakneck speed in our industry, which can lead to a lack of humanity in our interactions. One of the main reasons I was attracted to working with Freefolk is that they are deeply dedicated to keeping that humanity and personal touch in the way they do business.

The way that post companies service agencies has changed due to the way that products are now being marketed — online ads, social media, VR. Can you talk about that?
To be well informed and prepped as early on in the process as you can be is key. And to truly partner with the producers and creatives, as much as they need or want, is critical. What might work in one medium may be less impactful in another, so from the get-go, how do we plan to ensure all deliverables are strong, and to offer insights into new technology that might impact the outcome? It’s all about sharing and collaboration.

I may be one of the few people who’ve never really panicked about the different ways we deliver final work — our industry has always been about change, which is what keeps it interesting. At the end of the day, it’s always been about delivering content, in one form or another. So you need to know your final deliverables list and plan accordingly.