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How Freddiew Made It Big. November 8, Since the inception of concept art and VFX, the world has seen glorious things on film and television. An art that is constantly growing in popularity along with the demand for artists, visual effects have a charm of their own.
Many colleges and universities in the world offer some great courses on VFX , concept art and animation, so aspiring artists do have a few options to choose from. Even in India , there are a number of institutes that provide such courses. Youtube is probably just as popular as visual effects in the world of film and television.
Finding artists and tutorials for the same is no rocket science. There is a bit more freedom for the up-and-comers. Tech world is a lot more analytical. From friends who are pitching to these platforms, I hear that the tech companies change their focus really fast. The timeline is mismatched. More than anything, good content always has a place somewhere. Everyone is trying to figure out what that looks like and what the value of it is.
The truth is somewhere in the middle. Freddie: I think that Video Game High School is absolutely among the top challenging ones just because we had no idea what we were doing. From a season-to-season basis, we were learning. We try to figure out how to do it without ridiculous expensive CG work. Freddie: Oh, absolutely!
Every frame of a commercial movie is getting some kind of work on it: be it background or digital make-up. And what we found was that knowledge was helpful and it was helping us save money. There are points on set when you say that:. There are other moments when you do need to spend that time. Spend 10 more seconds to fix something here or put enough tracking markers, or what have you. That goes into the calculus of what we do:. It helps you tremendously to understand how CG works.
It can be a huge time saver and it can enhance how your final product looks. Not knowing that, you do that at your own peril. Having some VFX savviness is a huge asset on set because you have all these tools at your disposal. There are so many things that go into visual effects.
How quickly this stuff can go wrong is a big part of it! A lot depends on the director, as well. You make production decisions as a director, you find ways to save on production costs. Or do you want to do things carefully but better — and then we have the extra time to pay attention where it needs to be paid. Freddie: You have to pick and choose your battles.
The best projects come out of some sort of a constraint. As a director, you have to be able to speak to it. Night Shyamalan. You take away his budget — and his films are phenomenal. Freddie: Say what you want about Michael Bay, I really look at him as someone who knows how to use visual effects.
You may not like the Transformers movies, but I challenge you look at any single frame of those films — and compare to other movies that ILM does. He is getting the best possible work out of ILM because he knows where to use real stuff. At the end of the day, if it were that easy — everyone would do it!
Or, Larry Fong. How many times people tried to top ? Again, I look at filmmaking as a craft and there are different aspects you can focus on. He demands a lot from everyone. Even talking with Digital Domain — when he was working on Transformers 2 — they were basically redoing all the backgrounds, recreating, repainting everything.
They were planning ahead. What makes for a good synergy? Freddie: You know, I think that the people and the personalities that you find in the entertainment industry are very much at odds with the work.
That disconnect is present in everything. When you create something, there are always these situations. You look for their history. John Lennon was not the most upstanding individual but there is always that tension of push and pull. We try to be nice guys because. I went to this really tough high school where everyone was changing the world upon graduation: surgeons, life-saving individuals.
I get some surgeon screaming at someone. So we try to be nice people. There are situations when you need to decide what the most important shot is and do that, instead of 20 extra shots.
The average number of revisions we do is 3 or 4, on some hardcore visual effects. Very rarely do we touch double digits. We are very fortunate to have shorthand [in communication]. Sometimes I think about: People are so afraid of going too far.
With color correcting, [for example], go far — break it! To me, there are two ways to get to it:. We need to be able to push those limits. From VFX side of things, we insist our guys show us the super blocky, crappy, viewport render. Hell, even take a video with your iPhone and send it to me. That way I can catch things earlier.
If you go too big, at least you have a cap. Freddie: Or, the bigger thing is: Noodle the ones that need to be noodled. You have to pick your battles to some extent. It all comes down to designing it — but also signaling. Freddie: We come up with our scripts which are usually self-generated. We go over the shot lists with our DP. Then, on the day, when we shoot, if some idea comes up in the space — especially action wise — having a bit of improvisation is helpful.
Knowing the pain of doing visual effects on our end, we try make things easier. And again, we communicate where we need to go large.
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