When Ranran Meng was just a young, artistic child growing up in China, she became enthralled by the possibilities of the movies. She would sit in front of the screen in awe, blown away by the infinite possibilities that the medium offered, taking audiences to different places in time, and making the impossible, possible. The more films she watched, the more she began to wonder just how every element was made, and she found herself intrigued by the idea of creating something that wasn’t there during shooting and making it very real for viewers.
“The world has no limit, we can produce an image from the past or from the future, from down the road or other galaxies. Films present these worlds that are so real to us and show us something we would not experience in our day-to-day, or even our lifetime. I told myself as a child that I would one day be a part of creating these new worlds,” said Meng.
Meng now is living her childhood dream. As a compositor, Meng uses advanced visual effects techniques to create the impossible, which she has done for revolutionary projects like The Fantastic Beasts and Where to Find Them VR Experience, making the world of Harry Potter accessible to fans through virtual reality. She has also vastly contributed to the success of many award-winning and critically acclaimed productions, from HBO’s hit show The Deuce to Showtime’s Golden Globe winning mini-series Escape at Dannemora.
Another career highlight for Meng was working on the award-winning film Fahrenheit 451. Starring Michael B. Jordan and Michael Shannon, the film is based off the dystopian novel by Ray Bradbury, a story that Meng was a big fan of before the film was even announced.In a terrifying care-free future, a young man, Guy Montag, whose job as a fireman is to burn all books, questions his actions after meeting a young woman, and begins to rebel against society.
“The story talks about a future American society where books are outlawed and ‘firemen’ burn any that are found, focusing on the historical role of book burning in suppressing dissenting ideas. I like this story because it satirizes the society that tries to control and restrain people’s minds. This society phenomena actually still exists in our world, and it is important to present this to the audience and make them think and do something,” said Meng.
Fahrenheit 451 premiered at the world-renowned Cannes Film Festival in 2018 and aired on HBO on May 19th, 2018. Not only did it captivate audiences, but it wildly impressed critics, and went on to receive several award nominations, including five Emmy nominations. Such success makes Meng very proud, who worked tirelessly to make the film the success it became.
Rather than using VFX to create the impossible, for Fahrenheit 451, Meng used various software to refine every shot, creating an immersive experience for the audience. For this work, the goal is for viewers to not even realize she touched up a scene at all, removing background images that would take away from a shot or inserting important elements into the background to maintain consistency. For example, for the full view of the city shots, there were a lot of lighting boards on the top of the buildings; Meng removed the boards and created new building tops. Also, they shot the film during Christmas time, but that is not when the actual story takes place. Therefore, Meng had to go through every shot and eliminate any Christmas decoration or element that would imply it was the holiday season. It takes a refined eye to catch every detail, but Meng was more than up for the task.
“I like stories that are based in the future and have a science-fiction theme. This is new to me, as it was my first time working in the genre. The images are different and fun to watch or work on. They have a lot of effects in it,” said Meng. “I like the creative work in this project, I needed to change the environment from Christmas period to just a regular time of year, so I used elements in the footage to erase or fill out the scene. It was interesting for me, kind of like creating a whole new environment.”
Meng’s work for Fahrenheit 451 allowed audiences to travel from modern day to the future, just what she envisioned doing when she was a little girl. Creating a clean and complete environment for the film was pivotal to its success, and Meng was more than happy to be a part of such a moving and inspiring cinematic work of art.
“I am very happy to see this film presented to the audiences. To show this satirical story to more people and introduce such a good novel to a larger audience, it’s great. Maybe it can make people think about how knowledge is important. I think this movie is a good influence on the world and shows people what a free world should be. I am proud that I could be a part of it,” she concluded.
For decades, the film industry has been waging an arms race with no end in sight. In the dark of the theater, ever more elaborate spectacles of cinematic magic shine upon the screen like portals to distant worlds and forgotten times. The popularity of cutting-edge effects among moviegoers has fueled the growth of their use, making them absolutely essential to the success of virtually every blockbuster in modern cinema history. As quickly as audiences are thrilled by the latest magnificent visual feat, however, the bar is raised for all films that follow. As technology and expectations grow exponentially, it falls on visual effects artists like Tati Leite to keep up with our hungry demand to not only see magic, but to believe our eyes when we do.
Leite’s story is one of dedication begetting success. For as long as she can remember she’s been enamored with the way movies use special effects to awe, amaze and inspire audiences to believe the unbelievable. That early fascination stayed with Leite during her time as a computer engineer, a field which demanded and sharpened complex technical skills that would prove invaluable to her career as a visual effects artist.
“I have always been passionate about movies and computer graphics, and visual effects is simply the perfect combination of both worlds,” Leite said. “Ever since I was young, I’ve never missed an opportunity to create videos, learn tools to modify them, create effects, and everything that could be done at the time. I paid attention to all the details of every movie I watched, and I’d watch it over and over to see the effects, the animation and all the aspects that had been introduced to the footage.”
Her years of schooling and experience as a computer engineer gave Leite more than just a leg up when she entered the field of visual effects. As a visual effects artist, most of what she does demands an expertise in computer operations and design that few without her computer science background possess.
“I love to use technology in service of a story,” she explained. “Being able to create visuals that take people’s breath away, even if only for a few seconds, is the most exciting thing about being a VFX artist.”
The spectacular effects Leite creates are never anything shy of breathtaking. Her credits to date are as impressive as they are fitting for an artist of her talent. She’s worked her VFX magic on blockbuster films including 2018’s “Mission Impossible: Fallout” starring Tom Cruise, Marvel Studios’ “Ant-Man and The Wasp” starring Paul Rudd, and Disney’s upcoming live action remake of “The Lion King,” starring Donald Glover and coming to theaters in 2019. When it comes to productions like these, with big stars and bigger budgets, studios don’t take chances on unproven talent. Leite is consistently chosen for such high-stakes projects because she’s garnered a reputation for being an effects artist of the highest caliber.
“I think what excites me most about VFX is exactly that race. The challenge of doing something better, faster and differently is something that drives my passion for this industry. It’s not only about art, and not only about technology. It’s this thrilling mix of both that makes me want to become better and push the bar higher and higher,” Leite said, describing the thrill of being on the frontlines of the visual effects arms race. “Working for big budget productions [intensifies] the challenges because not only do we have to do our very best work to get it just right, but we also have to contend with tight deadlines and the pressure to deliver something even better than the last time.”
Grossly oversimplified, Leite’s job is to visualize, design and create the brilliant spectacles which astound ever-more discerning audiences. Her every keystroke is a meticulously calculated marriage between her unrivaled technical abilities and her unbridled imagination.
Her success has been guided every bit as much by her computer engineering experience as it has by her lifelong love of films, comics and games — and the ways they all use visual artistry to immerse their viewers, readers and players.
“My work on the movie ‘Ant-Man and the Wasp’ has special meaning to me because it was my first Marvel movie,” Leite explained excitedly. “As an old fan, I couldn’t be more glad to be a part of it.”
While her skill as a VFX artist has led her to be tapped to work on some of the year’s most highly anticipated films on a global scale, her love for her craft and her passion for film means Leite doesn’t choose her projects based merely on blockbuster status. She recently edited and led the VFX for the upcoming indie feature film “In Transit” from esteemed Brazilian director Julia Camara (“Open Road,” “Occupants”). Starring Oliver Rayon (“Workaholics”), award-winning actress Kim Burns (“Painless”) and Karina Federico (“Piel Salvaje”) “In Transit” tells the inspiring story of Olga and Daniel, two strangers whose chance encounter while waiting at an airport restaurant for flights to their respective countries change one another’s lives forever.
“In Transit” is yet another film where Leite’s finesse in post-production has proven to be crucial to the success of the production. Camara, who’s earned more than 25 awards for her work, including the Silver Telly Award and the Platinum Award from the European Independent Film Awards, needed a talented VFX artist and editor who spoke both English and Brazilian Portuguese for “In Transit,” and she found just the post-production superhero she was looking for in Leite.
“She was instrumental to the completion of the film… Not many others would have signed on to work on an experimental feature film… In an industry saturated with male editors, working with another woman was so refreshing. She brings her unique world view and sensibilities this industry desperately needs,” explains Camara. “The success of the film is largely due to her contribution to the project.”
With its festival run is just getting under way, “In Transit” has already been chosen as an Official Selection by the Glendale International Film Festival and is slated to screen between October 5 to 13 in Glendale, California.
There was a time when films had a monopoly on visual effects. But over the last two decades another multi-billion dollar industry has emerged, one which has fueled an explosion in demand for visual effects artists with talents like Leite’s. The rise of the video gaming industry seems to have no end in sight, and VFX has become as crucial to this growing field as it is to Hollywood. The largest video game development studios have already begun to compete with film production studios for VFX artists and other talent — as illustrated by Leite’s extensive VFX work within the gaming industry. As blockbuster video games continue to generate billions of dollars for the burgeoning industry, game developers increasingly realize the importance of visual effects artists.
In just a few short decades, the industry has evolved from a niche market of serious gamers to a cultural powerhouse with serious market control. Video and computer games today are far more than mindless entertainment, evidenced by their use in a vast array of educational settings. Working with the award-winning development company 7 Generation Games, Leite has helped create games that serve as interactive learning experiences for children.
This tactile approach to learning has come a long way since the days of iconic classroom games like “Oregon Trail.” Through games like “Aztech,” “Fish Lake” and “Making Camp,” Leite is helping to shape and grow the next generation of curious young minds. Her work has also earned 7 Generation Games the distinction of being named one of Homeschool.com’s Top Back to School Resources, a highly influential accolade in the world of education. The group is also the only U.S.-based firm to be a finalist at the Global Entrepreneurship Summit in India.
“It’s fantastic that 7 Generation Games has won so many awards, but for me personally, the best award is when I see the kids playing it without even blinking. 7 Generation Games creates educational games, and it’s kind of hard to keep children as interested in them compared to ‘regular’ games,” said Leite, describing the challenge of creating a product that is both informative and engaging to the young audience. “All the awards we won are very gratifying, but seeing kids playing over and over, even though they include math, social studies and learning, is priceless. It’s one of those moments you think, ‘Hm, I think we made something right.’”
In the field of visual effects, knowing the audience is key. Leite has an innate understanding of what audiences and players want to see; for all her immense technical know-how, she never treats the creative process as a formulaic affair. Just as each production is unique and wholly original, so too is her approach to every new challenge that comes her way. Whether she’s working alongside industry effects giants in the Marvel universe or helping young children discover a lifelong love of mathematics and science, Tati Leite is an unrivaled force within an industry that continues to fascinate and captivate imaginations of all ages.
Avatar, Star Wars, The Lord of the Rings. It isn’t difficult for cinephiles to think of how visual effects broadened their minds, transforming their favorite films and making the impossible, possible. In modern entertainment, it is an essential part of the filmmaking process, often in the most unobvious ways, cleaning up blemishes that makeup cannot, or adding a pivotal piece into the background.
“VFX visualizes the idea and surreal environment the writer has in mind. It enables so many possibilities, empowering the film production. VFX is the most direct way to translate the idea to the viewers. It is just stunning, period,” said Aaron Wei, Senior Compositor.
Wei is celebrated in both his home country of China and the United States for his work in Visual Effects. Using his skills to help make projects like The Americans, Unbreakable Kimmy Schmidt, Shades of Blue, and Gypsy the successes they have become, millions around the world have seen Wei’s work, and often didn’t even know it. He strives to make his work unidentifiable and natural, knowing that it will help audiences feel fully immersed in the story.
“Aaron is a passionate and talented artist. His enthusiasm and perseverance was evident in his approach to each project,” said Eran Dinur, Visual Effects Supervisor.
In addition to movies and TV shows, Wei enjoys using his skills on commercials. Companies like Toyota and Smart Car have benefitted from his artistic knowledge, and he loves being able to see his work on a YouTube ad or national television screens, which is just what working on commercials offers on a regular basis.
In China, Wei has worked with industry leading companies, like Canon. In 2013, he worked on the camera company’s commercial. He knew that for such a popular company, he had to ensure every shot was perfect so not to damage their reputation and to draw consumers to the product.
“We needed to composite a Canon camera bag on the model’s shoulder. The work was done by another artist, but I found the shadow casted by the bag put on her was not convincing. Then I took over, looked very closely at the real shadow on her clothes and creatively painted the shadow for the bag. Because I was trained as a painter for a long time, this task was not very difficult for me, but could be very challenging for others,” said Wei.
Wei also worked on a unique project titled The Soul of Dance to promote the work of the Tang Hui Studio Department back in China. It was creative work for building the company’s image, like an experimental lab.
“It’s like there’s no limit of what we can do. No clients’ requirement and no official deadline, it’s like a dream position. This project was one of many I have done in the studio,” said Wei.
Rather than using video editing software, Wei worked in Photoshop, using filters to create each key frame for the video, and then did the final assembling in After Effects. This approach was unconventional, but it worked. Even years later HuiTu image showcases this video as their iconic work in the company’s history.
Undoubtedly, Wei has had an extraordinary career, with many exciting projects lined up. For those looking to follow in his footsteps, he offers the following advice:
“Make sure you understand what the career you are heading into entails. I have seen people complaining about the job, saying things like ‘I don’t want to face the computer all day long in a dark room.’ Yes, that’s exactly what your life will end up being, so make sure you are okay with that. Understand your passion and personality. Before you pick up this job, do some research on the different departments in this industry. There are CG artists, producers, compositors, technical directors, creative directors, and so many more. You may excel better in one concentration than another,” he advised. “But most importantly, love what you do, and try harder. You may be asked to execute an idea that you do not necessarily agree with, and you may strongly believe your idea is better, but you have to give the higher-level executive what they want. You can certainly bring your idea up, but in the end, you are doing whatever your clients ask for, and they are always right.”
From the first frame and song of Pressure-Man (writer/director Kai Kuei-Chieh Hsu’s musical comedy) you instantly recognize the color of John Potter’s suit and tie as prominently as his singing. This is by design. The theatrical, somewhat fanciful approach is designed to place the viewer into accepting the “sleepwalking” lifestyle that the main character John is immersed in. The colors are over the top on purpose. The color makes a subliminal impact, it’s the reason that the filmmakers approached colorist Hugo Shih to use his expertise on Pressure-Man. Even the scene over the closing credits shows the wild color schemes Shih can use to great effect. The heart of the film is intact regardless of the color, but it is the talent which Hugo brings that truly gives this film the character to make it stand out as unique. Among its many recognitions were: 2016 American Movie Award (Best Production / Art Direction (Winner), 2016 Praxis Film Festival (Audience Awards), & Official Selection of the 2015 Los Angeles International Film Festival Awards (Winner – Best Comedy/Dramedy). In hopes of understanding why Kai Hsu and this production were so intent on having Shih work on Pressure-Man as the colorist, we spoke with him in order to understand his role and the essential parts of his vocation. Because the film is so stylized in terms of its use of color, it is a perfect example of what a colorist is capable of doing in modern cinema.
In current American society, Pressure-Man is the norm. This film is about an accountant who is so tied to his job that he doesn’t take the time to participate in actual life with his family. The idea of living to work rather than working to live is ingrained into the life of many in the US. Pressure-Man is as subtle as a sledgehammer, which is exactly what is needed to wake the main character John (and many of us) from this enslavement. In pursuing the dream, we forget to live the dream, which is exactly what Hsu is saying in this film…about everyone, not simply those in the film. To create such an altered state, Hsu worked closely with Hugo in creating the approach he wanted for a color scheme.
From the opening scene, Shih’s handy work is evident. As Pressure-Man introduces himself and the film in song, his brightly colored suit and bow tie grab the viewer’s attention as a spotlight illuminates him. The director wanted everything but the Pressure-Man hidden so Hugo added a lot of mask, covering everything else and tracked the actor, so that the mask would follow with him. It’s a technique which the viewer doesn’t notice but focuses the attention right where the filmmaker desires it to be. Even the transition from the opening song into the action of the film required Hugo’s expertise. Shih explains, “There was one shot we worked on very long time, which is the shot when Pressure-man stops dancing and starts to introduce us to the main character and the idea of the story. The Director wanted the lighting to look like he was using dimmer. It was difficult because it wasn’t shot this way. I needed to add the dimmer effect myself. In order to achieve this, I brought down everything at the background but the Pressure-man. Secondly, I key framed the background to gradually light it up, but without effect on the Pressure-man. Sometimes the director wanted it as dark as possible, but without losing any of the detail. Thus, the director and I were looking for a balanced light that we could both be happy about. I like working with directors that have specific ideas and requirements. Even though their requests might be difficult, we can build a style of communication. I know how to achieve many things as a colorist but if I learn how to communicate better and more easily with the directors and cinematographers I work with, I will work more and we will all enjoy the process.” Describing another shot in the film, Shih states, “There is a shot in which the Pressure-man is in the bathtub with father. When I graded this scene, the director asked me to make it look like the actors were in their own little world. I made the spotlight stronger, and used two shapes to mask out the sides to be dark. Then I added overall blur to simulate the steam because I want to make more feeling of taking shower. There was also a scene in which the father has a nightmare. He dreams that every member of his family has become a ‘Pressure- Man’. This was composed of multiple green screen shots. Because we have a rushing to meet our deadline, I decided to do compositing in a color grading software. Before I was able to do that, I had to do a perfect color balancing so that I could get a clean key and make a proper composition. It isn’t exciting to hear about but the finished product really made the director excited.”
A common misconception about the colorist job on a film is that they only deal with grades and tones of color. Because of the work they do and its effect on the action taking place in the frame, they often control how the lighting feels on film as well as the color. Because the colorist almost always performs their work after the filming has taken place, it is important that they work closely with the director and have a strong sense of why the lighting was established on set during filming. Just as with the actors, the environment in which the colorist performs his/her work is crucial to achieving the proper effect. The working environment of a colorist is very different from other positions on a production. During a color session, the room must be totally dark. There only light which can be turned on is a 6500 daylight lamp because it will adjust to the colorist’s eyes once they go out of the room and come back in. Also, the room must be 18% Gray (which is a neutral color and won’t reflect any colors to influence the eyes of the colorist towards the image). A colorists’ room also requires specialized equipment to aid in the color grade process, making things efficient and accurate. Hugo Shih’s work in Pressure-Man highlights the impact of the role of a colorist in modern film. While many audiences may not understand the substantial amount of time required and the valuable expertise that Hugo possesses; the look of the film stands as proof that his contributions create a unique and artistic experience.
Simone Lombardo has always known he wanted to do visual effects. Although it may not have been a dominant industry, growing up in Liege, Belgium, he never strayed from that path.
From the time he was eight and first had the opportunity to play with a computer in school, Lombardo had a passion. He did not accept just being good, he is exceptional. And since then, he has worked on films and video games that have been recognized all over the world.
Lombardo worked on the visual effects for the blockbuster films The Maze Runner and The Maze Runner: Scorch Trials, which together grossed over $600 million in the box offices worldwide. Lombardo’s touch is a contributor to that.
“Maze Runner Escape Version was really special, because it gave me the opportunity to test my pipeline, a pipeline in which not many people believed in. I always wanted to use game engine technology to render movies. Doing the escape version of Maze Runner was a big chance to prove it could work. We had so many shots to do in such a short time, but the pipeline held it together and we did deliver. This was the first time, (and only time I believe, with Maze Runner Scorch Trials Escape) that a game engine was used to render a AAA movie for theatrical release,” he described. “I use this project as proof that I was not crazy when, 5 years ago, I was advocating to use game engine instead of renderer for movies. I’ve done it, proved it can be done, I can now move to the next step.”
The Maze Runner films are widely regarded as having outstanding visual effects, and Lombardo’s vision saw to that.
“It was a year of taking risks, but finally it was done,” he continued. “Some people before that were not taking video game engine seriously.”
Lombardo’s determination to stay up-to-date with technology in his industry has led him to be recognized internationally in his field. He was an honorable mention at the CG Society International Challenge Spectacular, and first runner up at the Journey Begins. He won the Vocation Foundation Price in Belgium, in the CG Animation category in 2007, and is in the official 3dsmax Bible Book of 2008 and 2009.
He also had the opportunity to work on several commercials during his career with the production company Luxoom, an experience that Lombardo describes as “special.”
“I went to China without really any idea of what I would be doing, but I ended up at Luxoom, fresh from my training in Visual FX and particles work, and I had the chance to be one of the only people there with understanding of fluid dynamic and advance particles work,” he said. “So working at Luxoom let me use that knowledge on amazing project, and work with great brand like Porsche, BMW and Mercedes. But even more, it taught me efficiency. We had no time to do these projects, while in movies you have rarely have enough time to do what you really want, in commercials it’s even more challenging. We did one mini-cooper event video in 2 days once, from storyboard to shooting and post. And we were only 4 guys.”
“What I liked as well, is that it was the first time I saw general manager being so hands-on. Tobias Sievers, the GM of Luxoom Shanghai at the time, was an amazing artist and technical guy. Many times he jumped on the project and actually made it so that we would deliver. He was at the office longer than anybody else. This was a great experience and a big learning step in my life” he continued.
Alexandre Ouairy worked with Lombardo at Luxoom for a variety of different commercials.
“Simone Lombardo and myself work together on several national and international campaign during our time in China, at Luxoom and Idcreation. While pushing the limit of technology and executing pixel perfect 3D rendering for the like of Porsche, BMW, Audi, Nike, he was simultaneously taking online courses learning to program particles rendering,” said Ouairy. “It is always mesmerizing to see the speed of execution Simone can achieve and the dedication he put to is work, mixing his learning from the world of video game production with 3D rendering. Simone shows a passion and commitment to its industry that you rarely see.”
Lombardo uses the skills he has from working on video games such as Soul Caliber V, Resident Evil, and films such as Hugo and combines the two different technologies.
“They are really different but similar industries,” he said. “I like working on both video games and film. I like the polishing and real-life implementation of the movies part, and the time you can spend on one shot. But there is also frustration on the time you have to wait, and the politics involved. On the other side, video games are all about optimization. You have a finite number of memory, any draw call you can save, the better it is. It’s cheating to the extreme, but everything is real time.”
It is no wonder that with knowing the technology so intricately, Lombardo is regarded as an expert in visual effects in both film and gaming.
The film editor is one of cinema’s true behind the scenes wizards, one who can escalate the intensity of any sequence, deftly manipulating the action and emotion in a way few other production contributors—whether writer, actor or director—are as readily able to match. Russian editor and visual effects supervisor Pavel Khanyutin, known for cutting with surgical precision and an acute sense of pace, is an ideal example of this dynamic, almost alchemical skill.
For more than a decade, Khanyutin has exerted a strong influence on his country’s visual experience, as a film editor and through his influential use of CGI—he made significant impact supervising VFX in Timur Bekmambetov’s popular 2004 fantasy thriller Night Watch and Andrey Kavun’s 2010 war drama Kandagar. He also excels in his other professional capacity, conceiving and directing commercial advertising spots.
Khanyutin’s relish is evident in whatever he takes on, and his 16 years as a creator of television spots for high end prestige clients have been an enjoyable pursuit that has produced many notable achievements, crafting memorable pieces for Google, Coca Cola, Ikea, Pepsi’s Adrenaline Rush, Panasonic, Mars, Nike, cellular network Megafon and many others.
“In advertising the tough deadlines and limited time make the process almost like a competitive sport.” Khanyutin said. “However, there always remain enough possibilities for creative work, in the storytelling and sophisticated editing.”
But it’s working as an editor and visual effects supervisor where he derives the most satisfaction; in Russia, after all, the art of film cutting has a particularly rich heritage, going back to groundbreaking mid-1920’s giants Sergei Eisenstein and Grigor Aleksandrov.
“In editing, the possibilities are nearly unlimited, and it’s almost impossible to overestimate its importance.” Khanyutin said. “It’s a language in which films speak to the viewer’s unconsciousness, and it can deliver every shade of emotion, just as speech does. This is the most interesting, most complicated aspect and is also what allows a film to really get inside a viewer’s head. It’s almost like metaphysics—a visual philosophy.”
“Each project is interesting in its own way.” He said. “Editing documentary films is a very special process, you could almost say that the movie is coming to life in the editing room—getting precise emotions, different shades, from the material is the challenge—to create a great piece of work. I am lucky that I had a lot of documentary experience at the beginning of my career.”
Khanyutin’s personal involvement with every project is intense. “Working on a feature film is a different matter.” Khanyutin said. “To tell a colorful story, it’s very important to really dip down into it, to lead everything through one’s own self, to believe in characters, yet always be sensible. Then every cut will be as conscious and meaningful as sounds in speech. And the time spent in the editing room—it could be one month or one year—becomes part of you. You even see it in dreams.”
That tireless commitment to film gains Khanyutin tremendous professional advantage. “I’ve worked with Pavel as directors and editors always work together—I’ve dropped material off at his door to do with as he pleases, and I’ve sat, lurking over his shoulder, for up to a dozen hours at a time.” Film maker-screenwriter Michael Kupisk said. “In both cases I found Pavel’s instinct and touch to be invaluable in terms of defining the final outcome of the product. He was able to show me angles and methods of delivering a beat or turn that I hadn’t anticipated and is always thinking of how to make the movie better. What I admire most about Pavel is his innate rhythm and instinct. He adds something to the project that is satisfying to both the filmmakers’ vision and the audience’s viewership of the material.”
Khanyutin’s singular grasp on how best to manipulate raw footage is an invaluable asset, and his singular propensity to anticipate and deliver a finished product that really reaches deep down into an audience’s emotions qualifies him as a cinema auteur with illimitable potential. For Khanyutin, his professional goals are simple and straightforward, best summed up in three words:
Virtual Reality Group MightyVR, Momentum Entertainment and Sports Network, Interpix, Inc. and Replay Collective are pleased to announce the production of “The Most Dangerous Women in Hollywood,” an unprecedented 360 degree virtual reality movie and game series.
Viewers journey on a fully immersive experience by wearing a headset that allows the virtual reality experience of trying out jets, sports cars and choosing one of “The Most Dangerous Women in Hollywood” to join up with and get away from the bad guys. Headset options range from high end models such as the Oculus to a $20 Google Cardboard set.
“We believe the entertainment industry is on the verge on a complete shift in media consumption because of virtual reality and, soon, augmented reality,” said Replay Collective producer Siddharth Ganji. “As storytellers, we are always looking at how technology will shape storytelling, and there is no doubt that VR is the next big evolution in this arena.”
The exciting new project is dedicated to all of the daring stunt actresses who provide audiences with an array of thrills including flying military planes, racing sports cars and more.
Dallas Santana is directing the project, which is scheduling to film this month in Las Vegas. He is the creator, director and producer of “Destination X Hawaii,” “Destination X California” and “Destination X Puerto Rico.”
Starring in “The Most Dangerous Women in Hollywood” are the selectable and delectable Olga Safari, a model and actress known for her role in Thomas J. Churchill’s “Check Point,” Jennifer Irene Gonzalez, an FHM cover girl and former Miss Taiwan, Tara Rice, a model and actress who has appeared in “Piranha 3D,” “Austin Powers in Goldmember” and “Entourage,” and Michelle Watterson, a leading MMA fighter and model.
Producing the project along with Ganji are Replay Collective’s achieved line producer Varun Verma and producer Raghav Murali. Replay Collective produces engagement-driven content and is known for producing viral YouTube videos for artists such as Trisha Paytas and Ricky Dillon.
“With MightyVR, we are working on an action-oriented, interactive short. You choose a character and make consecutive decisions in an effort to “stay alive,’” Verma said.
Murali explained, “Virtual reality takes consumer engagement to the next level. Rather than just feel involved, consumers can in essence attend events minus their actual physical presence.”
In tandem with the movie and game series, the new initiative includes a 360 degree video, an HD short video, a companion picture book and e-book.
“The Most Dangerous Women in Hollywood” will be released on MightyVR’s distribution platform as an app that may be purchased. It will be also be available online, for smartphones and its book releases will be sold by Amazon.com and Borders.com.
Filming VR of course requires a specialized approach to production. The end result is a product that is entirely VR. “We have a special GoPro rig provided by MightyVR that we will be using. It’s an interesting approach to production where we have to pre-light everything in such a way that we don’t see any stands or lights,” said Ganji. “When the shooting takes place, everyone needs to disappear from set, and it will only be the performing talent performing the action.”
Murali noted that most virtual reality camera rigs are created using multiple cameras such as the GoPro, which are fitted and film in a way where images overlap. “The stitching of these images creates the three dimensional 360-degree effect,” he said. “Most VR software requires the stitching to be done in post, but there is also software being developed that allows real time stitching, enabling filmmakers to watch their content in real-time.
A VR-focused, immersive production means there is no fourth wall to hide behind during filming. “No crew or equipment should be seen by the camera. This requires lots of rehearsal and planning, making it a rather different experience to traditional filmmaking,” said Verma.
Ganji, from Mumbai, India, sees this dynamic new technology as having many valuable, inventive uses. “A strong benchmark for what is coming is to look at the video game industry and how immersive and interactive those games/worlds have become,” he said. “On the flip side, I have a 79 year-old grandmother who has never visited me in the U.S., and probably won’t be able to because of health issues. I’d love to be able to visit her, pull out my phone and let her experience her own journey of wonderment as she literally walks down the Santa Monica beach. The possibilities for technology are so vast, but what this boils down to is finding a human connection to the content.”
That human connection could also expand to immersive training materials for a variety of industries.
Said Ganjji, “Imagine you’re a newly-hired electrician and your company is training you. I see VR eventually entering into entirely non-entertainment related industries as a tool for training. Look at how many companies are gamifying their businesses now to increase employee productivity. VR completely aligns with that goal, and, I believe, will have huge market potential for hiring and attracting young generations.”
The technology is also one that presents an alternative to 3D. “I think VR is next level 3D,” Murali said. “Rather than simply being shown a world from one perspective in 3D, one gets to experience the VR world in full 3D.”
Living in the modern age we are bombarded by hundreds of commercials per day. As viewers when most of these ads hit the screen we often tune out in order to deal with the overwhelming overload of these messages.
So what does it take for a commercial to stand out and strike the interest of an audience in a world oversaturated with visual sales pitches?
Well, having a seasoned motion graphics designer like Vitaly Verlov behind the screen has proven to be an integral factor in the success of campaigns for global companies like Max Factor, Mitsubishi, Peugeot, Volkswagen, Nokia, Samsung and countless others.
Over the years Verlov has amassed prodigious knowledge in terms of the technical methods involved in creating everything from multi-layered motion graphics to seamless visual effects. Beyond his technical skills though, his creative vision has made him a highly sought after talent in the industry. In fact, earlier this year he handled all of the visual effects on the upcoming film Redux, a sci-fi film starring Oscar nominee Eric Roberts from the films Inherent Vice, The Dark Knight, The Cable Guy and many more. What is even more astonishing is the fact that Verlov also wrote and directed the highly anticipated film.
His prowess as a motion graphics designer and visual effects artist have allowed him to take on projects that others in the industry who are only skilled in one of these two areas could not.
While you may not know the face of Vitaly Verlov, if you’ve ever tuned into MTV, VH1, Friday! Or Russia’s RUTV, then there’s a pretty good chance that you’ve seen his work more than once over the last decade.
To find out more about Vitaly Verlov’s captivating work make sure to check out our interview below!
VV: My name is Vitaly Verlov and I was born in the city of Novosibirsk, Russia. After graduating in 2007 I moved to Moscow to work as a motion graphics designer and visual effect artist for television and film.
IFR: How and when did you first get into doing visual effects work?
VV: In high school and university I did a lot of computer programming because I was a computer geek back then, and even before that I came across an international computer art subculture called Demoscene. Essentially it’s a community where young programmers, artists and musicians get together – for fun – to make demos: computer programs that produce audio-visual presentations in real-time. The visual side of creating a demo implies that you actually program algorithms to achieve a certain artistic effects on screen. To put it short, it’s awesome. As soon as my programming skills got up to speed, I started making graphical demos with some cool looking visual effects and showcasing them on so called “demoparties.” As a matter of fact, my thesis work was focused on developing a toolset for real-time motion graphics and visual effects production.
Later on I became more interested in non real-time photorealistic imaging and switched from computer graphics programming to producing visual effects, design and animation in a more traditional industry-applicable form and started doing broadcast motion graphics for television.
IFR: What inspired you to pursue this profession?
VV: After seeing some television channels that were neatly designed from a graphical standpoint or motion pictures packed with great visual effects, I really wanted to become a part of it.
IFR: Are there any particular artists that inspire you?
VV: In my early days I was fascinated with some of the broadcast design graphics on TV and dreamed about getting to this level of quality and impression. That’s what basically inspired me to learn, more than personalities. However after moving to Moscow, I had an opportunity to meet with some of the great guys behind those outstanding designs and work with them.
IFR: What kind of training was involved in order to become a VFX artist? How important is formal education to getting a job in the industry?
VV: I personally don’t have any special VFX related training. Nor do most of the other artists I know. Basically, to become a VFX artist or motion designer, it’s important to have a natural artistic sense and a good eye plus the ability to efficiently handle technical tools and software. On the other hand, it’s also a matter of specialty in the industry, for instance: environmental concept artists or matte painters often have a background in fine arts. One thing is true for everyone working in VFX: you don’t stop learning, no matter what your specialty is.
IFR: What is that you love about being a VFX artist?
VV: The ability to create something impressive out of nothing; and the ability to impress girls at parties, of course.
IFR: What is your specialty in the field?
VV: As a VFX artist, I consider myself a generalist which means that I can pull off a wide variety of tasks myself, including modeling, texturing, animating, rendering, compositing. There are fields that I prefer more, and there are fields I’m not involved in at all – like character modeling and rigging.
As a motion/broadcast graphics designer and art director, again, I can do a lot, starting from initial creative concept to final delivery.
IFR: What is your typical workflow like in terms of collaborating with other artists on a film?
VV: It depends on a project and/or studio. Sometimes workflow is precise, broken down into stages and compartmentalized with strict deadlines, sometimes it’s a complete mess and overnight hell. The most positive experience is of course when you focus on something specific you really like and are good at. This way of collaborating is very efficient and creative at the same time.
IFR: You also work as a motion graphics designer, can you tell us a little bit about what that entails?
VV: Sure. Essentially motion graphics design is an animation-oriented subset of graphic design. Graphic design is just a single picture. Motion design is graphic design in sequence, in motion, and you see it pretty much everywhere: opening sequences for TV shows, film titles, game console menus, or photo-realistic 3D smartphone magically spinning in mid-air in a smartphone TV or Web commercial, or even user interface animation within that smartphone. In other words, any animated piece in visual medium is a subject of motion design.
That’s what I’ve been doing for various television channels including MTV, VH1, Friday!, and others. Sometimes there is client input on the initial concept of what we’re trying to achieve, sometimes there is no input. When there is no input, I also work as a copywriter where I suggest different ideas or scripts on how an end result might look and what meanings/themes it might have behind it. When the concept is approved, we move on to actual motion design.
IFR: How does being a motion graphics editor differ from working as a VFX artist?
VV: Motion graphics is a general term. It’s something that visually can be executed in different ways and styles. It can be two-dimensional, flat design-ish/illustrated looking as well as filmic three-dimensional. I think my direction is more filmic/three-dimensional oriented, that’s why it depends substantially on the visual effects techniques. For example, for a commercial spot for Peugeot the idea was to make a realistic car driving along a stylized miniature street – stuff like that directly relies on VFX techniques because it requires 3D modeling, rendering and compositing as a part of the workflow. In a sense, for such projects VFX is a way to implement the creative idea. That’s where motion graphics and VFX come together.
On the other hand, there are motion graphics projects where VFX techniques are not required for natural reasons. For instance, I have experience making on-screen graphics as a part of graphics package for several television stations where the task was to design the look and feel of info graphic elements that pop up during a broadcast. While these elements look pretty minimalistic, they should have a thought-out motion behavior and structure that keeps the integrity of the overall design. Sometimes the way these elements pop up on screen, interact with the viewer, and disappear is hard to conceptualize. That’s where “design” in the “motion graphics design” title comes to the forefront.
IFR: How has having skills as both a VFX artist and a motion graphics designer separated you from others in the industry?
VV: I think VFX and motion graphics are storytelling devices, and I always try to approach projects from the storytelling perspective. So for me the primary task is not making a neat looking animation or effect but supporting and enhancing the context it is a part of. Motion graphics is about guiding the viewer’s attention and it’s also very important for visual effects shots. What separates me is a good understanding of these aspects which, in real life, means that a client is usually happy with the timing, pace and accents I put into designs during the early stages of production, which is cool because it eliminates the need to reiterate on that so I can spend more time perfecting the visuals.
IFR: What companies have you worked with in the industry?
VV: Since I consider myself motion graphics oriented, I have more experience working on commercials and on-air broadcast design.
As a lead designer and VFX artist, I worked for the Russian branch of MTV and VH1 Networks and nation-wide entertainment television channel Friday! As an art director and motion graphics designer, I’ve done quite a few projects for a major music television channel, RUTV. Specifically, I created motion graphics and the overall design for the RUTV 2014 annual music awards ceremony, and some pieces for its 2015 installment.
As a freelance designer and VFX artist, I’ve done a bunch of commercials for international brands, including Mitsubishi, Peugeot, Volkswagen, Max Factor, Nokia, Samsung, Eurovision, Sensation, plus a variety of Russian brands like Beeline (a major mobile operator in Russia).
As a lead VFX artist, I have several projects done for the US-based boutique postproduction company Coat of Arms. Also, I have great experience working for the international visual effects company Pixomondo (Game of Thrones) as a lead 2D effects artist.
Working for various international companies and clients gives a pretty solid understanding of how the global industry works as well as flexibility in the way you approach projects in terms of planning and workflow because the process makes the result.
IFR: Can you tell us a little bit about the television and film projects you’ve worked on; and the specific contributions you made?
VV: I’ve done a lot of TV show openers and channel idents, in a team of designers and by myself, including works for MTV Networks, nation-wide channels Friday!, and RUTV.
While working for Friday! I had a positive interaction with the broadcast design department of Les télécréateurs (Paris) who designed overall on-air look of this station. I’ve made a few show openers and extra identity pieces based on the existing visual style of the station. And for RUTV I created motion graphics and design for the RUTV 2014 annual music awards ceremony which was a pretty huge amount of work (a show opener, a set of nominees, promo spots, press materials) on a tight schedule – that’s where the ability to sit focused for 18 hours came in handy.
Also, recently I had a chance to work as a lead 2D VFX artist on a Chinese big budget sci-fi feature film called Impossible, which is scheduled to hit the market sometime this year. I came in when the postproduction was in full swing, and my job was to complete a bunch of VFX shots, mostly energy fields and portal effects.
I should mention that I’m a filmmaker myself with two sci-fi live action films already under my belt. The latest one, Redux, features the well-known Hollywood actor Eric Roberts (The Dark Knight, The Expendables). It’s a short character-driven story with the ’80s/retro-futuristic vibe to it. I wrote, directed and edited this film and did visual effects.
IFR: Why is motion graphics design important to modern filmmaking?
VV: In its pure form, motion graphics design is critical for television and Internet – that’s for sure. Filmmaking also takes advantage of it, particularly big budget sci-fi & fantasy films and movie trailers, which are a marketing device. Film credits or sleek futuristic computer interfaces you see in a sci-fi flick is a product of motion graphics design. Sometimes it enhances the narrative story of a film, sometimes it doesn’t, but it’s in there. Moreover, since motion design and VFX are somewhat interrelated fields, motion graphics can be essentially found in any film featuring visual effects. That’s also a good way to save some time and money during production, which is important, especially for independent narrative filmmakers like myself. Can a modern live action film be done with no VFX and motion design? Probably yes. But if it’s a mainstream (commercial) film, there should be a marketing/ad campaign involved and that’s where motion graphics comes for you again.
IFR: What has been your favorite project so far and why? What projects do you have coming up?
VV: Not sure about all-time favorites, but I can name a couple of recent ones. I was a part of a team who made a STRAFE® promotional spot for a successful Kickstarter compaign. STRAFE® is an independent old school first-person shooter video game. On this commercial, I worked as a lead VFX/motion design artist.
And of course I loved working on my second film Redux because I think it looks pretty neat, has a coherent story and stars well-known Hollywood actors.
As to the projects to come, some of my past TV clients have a brand new music channel in the works, and while there’s not much info available at this point it looks like I will be creating an onscreen design and several VFX heavy idents shot on green screen.
IFR: Do you have a passion for working on a specific kind of film or project, if so what kind of project and why?
VV: In the TV world, I would say, a show opener. When making a TV show opener, you’re actually making a focused 10-15 second piece which tells a story visually, and that’s what attracted me to the visual medium in the first place.
In film, I have a passion for working on my own films.
IFR: What would you say was your first foot in the door to the industry, and what advice would you give to aspiring artists?
VV: In 2006 I believe, I started making what I called the daily images: the goal was to make one new artistic image every day, just for fun and training, and post it on the Internet into a corresponding design community. I ended up making just a couple of images a week, but after a year of this marathon I was invited to work full-time at a prominent postproduction studio in Moscow, N3, because they liked my pictures. That’s basically how I got into this industry. So I guess my advice would be, stop being aspiring and start actually making something just for the sake of it, start the process and watch how everything unfolds.
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