What do you do In VFX indusrty ?

 

I am a digital paint and “roto” artist at Framestore. Part of my role is “rotoscoping”, in which I trace over live-action film movement, frame by frame, for use in animated sequences in feature films. The other part is rig and wire removal – basically taking out all the wires and rigs in films that are used to support actors, so that it looks as if they’re flying.

 

What’s your background?

 

I started off as a runner in TV production. I wasn’t really sure what area I wanted to specialise in, so running was a good way to be exposed to different parts of the TV industry. I did a couple of placements at the BBC and Channel 5, and then landed a long-term role as a runner at a post-production company specialising in editing in Soho. That’s when I realised I wasn’t interested in editing, but rather visual effects. I started looking into how I could break into the industry, and then heard about Escape Studios, the training body for visual effects (known as VFX).

 

How did you get into VFX?

 

From my days in TV, I knew it wouldn’t be easy to get into VFX. I started doing some research, looking into how I could break into the industry, and then came across Escape Studios’ website whilst searching on the internet for advice. After doing a three day introductory workshop I decided to take the Compositing for Production 12 week course.

 

One of the training managers on my course heard about some vacancies at Framestore. They suggested I send my showreel to them, and a couple of weeks later I got called in for an interview.

 

What did you do to make your application stand out?

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It’s certainly competitive – I’ve heard that for every vacancy Framestore has, they get about 100 applications. London and Los Angeles are the two main centres of the VFX industry, so there’s a lot of talented, experienced people going after jobs.

 

I worked around 70 hours a week to get my showreel up to the standard expected of entry level artists, and it paid off - it got me an interview. When I was in my interview I was told that the showreel was only 20 per cent of it – the rest was about making a good impression. I needed to show that I was someone who would fit in and work well in a team.

 

What do you enjoy most and least about your job?

 

It’s great to be doing something different and creative. I get to work with some fantastic people and on some huge projects – in the last seven months, I’ve worked on Harry Potter and the Deathly Hallows: Part Two, Sherlock Holmes: A Game of Shadows, and Warhorse. It’s amazing to see a scene you’ve worked on up there in the finished film, and hopefully get a credit at the end (if the size of the reel permits).

 

On the downside, I’ve had to work long hours, including weekends, when we’re close to deadline. It can be frustrating when you’re trying to solve a problem that you can’t see a way round and it takes up more time than it should. Although when you do work it out, it’s a satisfying feeling.

 

What’s a typical day like?

 

It usually starts with a bit of a catch up with colleagues, and then I work out what I’m doing that day. Framestore is a very relaxed place to work – we’re trusted to do the work, and not micro managed, so if you come in a bit later, it’s understood you’ll make up the time by staying later in the day. People can have a chat and a laugh with their colleagues, without worrying that someone is making a note saying they spend too much time joking and not enough time working.

What sort of things can you be working on at any one time?

 

Usually it’s one project at a time – working on a frame, removing rigs for instance, then moving on to the next one. Occasionally I might need to go back and work on a project that I worked on before. For instance, I did some work on Warhorse, and then went on to Harry Potter, and then had to go back to Warhorse. You need to adapt quickly in those situations.

 

What advice would you give to anyone looking to work in this sector?

 

Do your research and find the right courses. There isn’t time to do a lot of training when you get a job, so you need to have the right skills to get the job in the first place. Some universities don’t have the right mix of practical knowledge – they’re good on the theory, but you’re being taught by academics, not industry professionals.

 

How did you get into VFX?

​

From my days in TV, I knew it wouldn’t be easy to get into VFX. I started doing some research, looking into how I could break into the industry, and then came across Escape Studios’ website whilst searching on the internet for advice. After doing a three day introductory workshop I decided to take the Compositing for Production 12 week course.

​

One of the training managers on my course heard about some vacancies at Framestore. They suggested I send my showreel to them, and a couple of weeks later I got called in for an interview.