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hey this is your favourite German composer

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Sebastian Schmidt

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as a matter of fact it's actually German Canadian now

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since finally a few days ago

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I obtained my Canadian citizenship uh

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I've been living and working in Canada

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for a number of years now

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and for the past four

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I've been at Image Engine here in Vancouver

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mostly in a lead compositor role

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recent projects I've contributed to include Murder Bot

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the Gorg uh Ahsoka

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the Mandalorian and book of Boba Fett

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one of the things I really appreciate about Image

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Engine is its scale

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it's a midsize company just a few hundred people

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one office location

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even though we're part of the larger Sinergy Group

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I would say

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there's a strong sense of independence and identity

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here

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we are

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working on projects that are creatively ambitious

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and globally recognised

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it reminds me a bit of the early days back in Berlin

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where that mix of familiarity and creative range

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made the work especially meaningful

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before Image Engine

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I had the chance to work at studios like ILM

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d Neck Digital Domain

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MPC

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and scanline on a range of productions like Star Wars

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transformers uh

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Marvel movies The Jungle Book Interstellar

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Game of Thrones and many more

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these days I call Canada my home

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um

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but my journey in UFX began over 15 years ago in Berlin

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where I'm originally from

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and from an early age I was always bursting with ideas

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so writing short plays experimenting with photography

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or editing my own movie trailers

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uh using two VHS recorder

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so the truly analog way um

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for the longest time I actually dreamt um

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of becoming a film director

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but starting out with no budget

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meant I had to wear every hat

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so creative logistical and everything in between

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and juggling production schedules

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locations and permits often drained my creative energy

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but it also taught me a powerful lesson

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which is asking for help isn't a weakness

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it's wisdom actually

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I think creativity flourishes when it's shared

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so when each person brings

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their own strength to the table

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over time

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I found myself increasingly fascinated by technology

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and realized something surprising to me

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I actually found more joy working on

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you know frames that have already been shot

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there's something I don't know

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deeply satisfying

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about taking what's already been captured

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and helping shape or elevate its story further

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I've always been inspired by collaboration

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so when multiple artists leave their fingerprints

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on a single frame so when I discovered visual effects

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it felt like the perfect home

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the fusion of creative vision

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and computer driven problem solving

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like many things in life I would say

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the VFX industry has aspects that can feel both

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exciting and challenging

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at the same time

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and sometimes even the same aspects flip

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depending on where you are in life

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one of the big ones is definitely mobility

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for many of us especially early in our careers

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I feel like it's incredibly exciting to

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have opportunities abroad

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at one point I remember getting a visa

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and working in another country was surprisingly easy

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many places where you know

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in such need of talent

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welcomed artists from around the world with open arms

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and I don't know gave me

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you know the chance to live in

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in amazing cities and work at top tier studios

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but over time

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constant relocation can obviously wear you down

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especially if you're trying to start a family

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or put down roots in general

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what feels like freedom at one point

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can later feel more like instability

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at the same time though

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this international nature of the industry

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is also one of the greatest gifts

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you meet people from all over the world

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not just through travel

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but also right next to you in the office

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at least before the work from home times

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I would say it broadens your perspective

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you end up with friendships in

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you know nearly every corner of the globe

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and visiting old colleagues

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can turn into reunions across continents

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it's also

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deeply inspiring to work alongside

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so many talented and creative people

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there's you know

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that special kind of energy in a team

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where everyone is passionate and pushing boundaries

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yeah but of course

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one of the flip sides is

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the sheer amount of screen time

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we spend long hours in front of a monitor

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and that can take its toll

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if you don't find a good balance

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um let me think some other aspects pace of innovation

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you know we're always learning new tools

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adapting to you know changing shifting pipelines

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it keeps things fresh

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but it also means you're never done learning

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credit and visibility I would say is also point

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it's a highly uh collaborative field

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but sometimes your individual contribution can get lost

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you know in a sea of names

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especially in larger productions

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then we have short project cycles

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while they allow for a wide variety of work

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and constant change

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they can also make it hard again to plan your

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your life long term

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another point let's say burnout culture

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deadlines can be tight um

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expectations high studios are getting better

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but work life balance still varies greatly

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depending on where you are ultimately

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I would say it's a rich

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challenging and incredibly rewarding industry

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if you go in with open eyes

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and the willingness to adapt over time

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I would say for me it's

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it gets harder and harder over the years

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to really pick favorites and

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and the reason is that usually

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I try to make every project special in its own way um

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you know to me um

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even if I don't like the actual material or the

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the content you know of that show or movie

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um

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there's usually always an aspect that you can find that

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I don't know really pulls me in

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and then I try to make this my kind of like

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you know theme of of the project for example

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the last project Murderbot

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they uh

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used really interesting uh

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and funky lenses for the show

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so just like diving into the whole topic of um

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you know lenses

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uh lens effects defects

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aberrations all that kind of stuff um

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was super interesting just to explore the footage

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you know and see what uh cost

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which effect defect and so on

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and then more interestingly how to recreate it in

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in uh

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compositing to perfectly match

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uh every kind of lens that they used um

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so that was a very interesting show for that uh

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aspect

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then what was it like that maybe Asoka before that

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you know there was a huge uh

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aspect of at least what interested me was uh

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because we had a um

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space uh

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sequence basically and it turned out to be

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sometimes a real challenge to sell speed in uh

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in space you know

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when spaceships are flying and chasing each other

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because um

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the stars are so far away that you're not getting

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really parallax um

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you might get it between you know

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like the ship and the stars in the background

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but then nothing really in between so

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um yeah

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just to find ways in a picture

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you know if it's with like

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you know

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lens flares that are like caused by light sources

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you know

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like a sun or something off screen that can also

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you know

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shoot over the screen or something like that and

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you know tons of other things that we tried out to

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to tell the story of travel in in space right

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so um

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I don't know

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that was a like very interesting aspect for me then um

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okay one of my really favorites is uh

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also one of my first projects anonymous

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uh by Roland Emmerich

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uh about

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you know Shakespeare and the theory that um

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Shakespeare um

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didn't really uh

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write his plays but that somebody from like the higher

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you know uh

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the monarchy basically um

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distributed the place to him

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because it was not well respected for that position to

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you know entertain the commoners and um

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very interesting movie

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but the interesting aspect of it was that the VFX uh

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company back then uncharted territory

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Mark Wygatt and Volker Engel um

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they used to travel when the size allowed it

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I used to travel with the VFX studio

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to the actual location of shooting

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so they they happened to shoot in film studios

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Babelsberg in Germany so

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then

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they just opened up the VFX studio on that same lot so

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um that was the first

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and I would say almost only

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time that I experienced

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working in VFX at the same time

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as the rest of the whole film crew

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because they were you know

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like still shooting on set

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we were already working VFX

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Umm Rodan Emmerich

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he was able to come like after the shoot

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come by our um

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studio space you know

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check on the shots

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we're currently working on giving notes

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it was a very smooth uh

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way of working right

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there was like no no real middleman in between

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plus you felt really part of the whole um

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production you know

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even to the point where let's say in comp

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we needed to extend um

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I believe it was a wall or something like that um

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with like very specific you know

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like layers of brick stone and um

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you know you could just call a driver

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drive to the set where they had that set still

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you know set up and then once they have a break

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go and take some photos you know

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bring it back to the studio

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and you have the best reference for that wall

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because it's actually photos from that wall right

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um so that was awesome

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and then maybe as another project to mention

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game of Thrones also like one of my first ones

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the season 1 was pretty exciting too

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just I just like for like being

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living and working in Ireland for this project

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because it kind of like

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provided the backdrop for the show as well

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in terms of environment right

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so just being in that nature and like on the weekends

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travelling across Ireland

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and then working on those shots

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I don't know I think it gave you really the

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the mindset and the vibe and the mood

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to work on these type of shots

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in a way yeah

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I think those are the

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the four that just came to mind but like I said yeah

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I try to make every project somehow a special one

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let me think I would group

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some of the shows into different categories

280
00:12:13,000 --> 00:12:15,666
maybe one being full circle moments

281
00:12:15,666 --> 00:12:16,900
you know those are always nice

282
00:12:16,900 --> 00:12:20,100
and I remember when I started studying um

283
00:12:20,100 --> 00:12:23,166
2006 I think we went with the whole school

284
00:12:23,166 --> 00:12:24,866
we went to the FMX convention

285
00:12:24,866 --> 00:12:26,566
which is if you don't know it

286
00:12:27,066 --> 00:12:29,800
basically a smaller European version of the sigraph

287
00:12:30,300 --> 00:12:33,300
and it was already mind blowing to me

288
00:12:33,300 --> 00:12:36,066
you know I just started studying all the new terms

289
00:12:36,066 --> 00:12:39,600
all the show reels I saw and then the last

290
00:12:39,600 --> 00:12:43,600
talk of the last day was an interview with uh

291
00:12:43,600 --> 00:12:44,866
Roland Emmerich the

292
00:12:44,866 --> 00:12:45,866
the director

293
00:12:46,366 --> 00:12:50,533
and kind of like a retrospective of his career

294
00:12:51,033 --> 00:12:52,400
so he was talking about all the movies

295
00:12:52,400 --> 00:12:53,866
and I was just sitting there

296
00:12:54,366 --> 00:12:57,666
and already felt so small from that whole week

297
00:12:57,833 --> 00:13:00,600
uh of you know realizing how far away from like

298
00:13:00,600 --> 00:13:02,366
being an actual artist I am

299
00:13:02,666 --> 00:13:04,533
and I was just wondering

300
00:13:05,166 --> 00:13:07,766
will I you know will I be good at this

301
00:13:07,766 --> 00:13:11,133
and will I ever have the chance

302
00:13:11,166 --> 00:13:12,233
to work

303
00:13:12,233 --> 00:13:14,466
on a project with something like Roland Emmerich

304
00:13:14,466 --> 00:13:15,266
you know

305
00:13:16,700 --> 00:13:18,300
flash forward three years later

306
00:13:18,300 --> 00:13:21,933
I'm still studying it's the last year of Uni Umm

307
00:13:21,966 --> 00:13:24,433
Roland Emmerich is shooting anonymous

308
00:13:24,433 --> 00:13:27,666
his movie in Germany in Studio Babelsberg

309
00:13:27,866 --> 00:13:30,766
and the VFX company working on it opened a little

310
00:13:30,766 --> 00:13:32,166
you know hub over there

311
00:13:32,266 --> 00:13:34,366
and was looking for kind of like a junior

312
00:13:34,366 --> 00:13:36,800
intern position as a for a compositor

313
00:13:38,266 --> 00:13:40,500
I applied and I got in you know

314
00:13:40,500 --> 00:13:42,033
and I was like I couldn't believe it

315
00:13:42,033 --> 00:13:43,166
it's like within three years

316
00:13:43,166 --> 00:13:45,666
and I didn't even leave the uni yet

317
00:13:45,966 --> 00:13:46,766
um

318
00:13:47,300 --> 00:13:50,533
and I'm actually working with Roland Emmerich and

319
00:13:50,666 --> 00:13:53,066
you know he would come by after

320
00:13:53,366 --> 00:13:54,366
you know uh

321
00:13:54,700 --> 00:13:57,100
shoot day come to the office

322
00:13:57,200 --> 00:13:58,100
stand behind you

323
00:13:58,100 --> 00:14:00,566
look at the shots that you're working on it

324
00:14:00,566 --> 00:14:01,700
it was just great

325
00:14:01,700 --> 00:14:04,433
it was just a super full circle moment

326
00:14:04,433 --> 00:14:06,266
and kind of like an important moment as well

327
00:14:06,266 --> 00:14:08,766
to get the career started right

328
00:14:08,766 --> 00:14:11,100
it was a good way of motivation

329
00:14:11,600 --> 00:14:13,500
yeah then um

330
00:14:14,700 --> 00:14:17,600
then I would say another one is communication

331
00:14:17,700 --> 00:14:19,833
um I have a few moments

332
00:14:19,833 --> 00:14:21,700
like memorable moments about that

333
00:14:21,700 --> 00:14:23,933
because communication is important to me

334
00:14:24,233 --> 00:14:26,566
but I had to learn that um

335
00:14:27,066 --> 00:14:29,766
it's not only about that you communicate

336
00:14:29,766 --> 00:14:31,800
but it's also how you communicate

337
00:14:31,800 --> 00:14:33,900
that you understand the person you're communicating

338
00:14:33,900 --> 00:14:37,266
with and that you adjust the way you communicate

339
00:14:38,300 --> 00:14:40,100
for example um

340
00:14:40,100 --> 00:14:41,433
like I started like I said

341
00:14:41,433 --> 00:14:43,166
I started in a very small

342
00:14:43,166 --> 00:14:43,500
you know

343
00:14:43,500 --> 00:14:47,600
company in Berlin and we were all in a way generalists

344
00:14:47,600 --> 00:14:49,666
there was really no budget for

345
00:14:49,666 --> 00:14:51,100
you know um

346
00:14:51,500 --> 00:14:52,933
specialist basically

347
00:14:53,466 --> 00:14:57,100
uh so we had to rely on each other a lot communicated

348
00:14:57,100 --> 00:14:59,066
had to trust each other from the beginning

349
00:14:59,666 --> 00:15:01,500
and then I go to my first bigger studio

350
00:15:01,500 --> 00:15:02,266
Deneck

351
00:15:02,266 --> 00:15:06,733
work on Total Recall and get a shot assigned comp task

352
00:15:06,766 --> 00:15:09,500
and I don't know first thing I just had it

353
00:15:09,500 --> 00:15:11,866
my muscle memory went to the lighting artist

354
00:15:12,466 --> 00:15:13,533
introduced myself

355
00:15:14,366 --> 00:15:15,500
hey I'm Sebastian

356
00:15:15,500 --> 00:15:18,766
we're working on this shot together and um

357
00:15:18,766 --> 00:15:20,266
the shot already had a comment

358
00:15:20,866 --> 00:15:23,433
cause I think I picked it up from someone um

359
00:15:23,433 --> 00:15:25,300
and there had to be a little

360
00:15:25,900 --> 00:15:27,366
technical aspect that had to

361
00:15:27,366 --> 00:15:28,366
had to be fixed

362
00:15:28,766 --> 00:15:32,000
and I know it could have been done in lighting uh

363
00:15:32,000 --> 00:15:34,800
would have taken a quite a bit of time

364
00:15:35,566 --> 00:15:38,900
but I knew with a normals pass I can fix it in comp

365
00:15:38,900 --> 00:15:41,966
right so I kindly asked him uh

366
00:15:41,966 --> 00:15:42,633
the lighting artist

367
00:15:42,633 --> 00:15:44,800
if they can provide me with a normals pass

368
00:15:45,300 --> 00:15:48,000
and next version drops no normals pass

369
00:15:48,000 --> 00:15:50,400
you know next version drops no normals pass

370
00:15:50,400 --> 00:15:52,000
and I was wondering what's going on

371
00:15:52,166 --> 00:15:55,266
and later found out that you know

372
00:15:55,266 --> 00:15:58,066
the artist felt a bit upset almost in a way

373
00:15:58,500 --> 00:16:00,600
or confused why I first of all

374
00:16:00,600 --> 00:16:01,666
why I came and showed up there

375
00:16:01,666 --> 00:16:03,300
because they were not used to it

376
00:16:03,400 --> 00:16:04,500
and then

377
00:16:05,233 --> 00:16:07,166
there was the huge fear that

378
00:16:07,166 --> 00:16:08,966
me asking for a normal pass

379
00:16:08,966 --> 00:16:11,566
means I wanted to change the lighting completely

380
00:16:11,566 --> 00:16:15,966
which I didn't want to so it was in a way

381
00:16:16,000 --> 00:16:19,966
you know we communicated but I made the mistake

382
00:16:19,966 --> 00:16:20,233
I guess

383
00:16:20,233 --> 00:16:23,400
I just assumed that like the days in Berlin that

384
00:16:23,400 --> 00:16:24,666
you know we are on the same level

385
00:16:24,666 --> 00:16:26,533
we have to trust each other from the beginning

386
00:16:26,666 --> 00:16:27,466
um

387
00:16:28,000 --> 00:16:29,900
trust has to be earned maybe also in a

388
00:16:29,900 --> 00:16:31,433
in a bigger and competitive

389
00:16:31,433 --> 00:16:33,000
more competitive environment

390
00:16:33,066 --> 00:16:34,300
so I should have had you know

391
00:16:34,300 --> 00:16:36,833
like should have communicated that more in the end

392
00:16:36,833 --> 00:16:37,866
you know everything was good

393
00:16:37,866 --> 00:16:40,200
we talked about it and uh

394
00:16:40,266 --> 00:16:42,433
he understood everything and you know

395
00:16:42,433 --> 00:16:44,133
almost felt sorry about it a bit

396
00:16:44,600 --> 00:16:47,033
and another good example is uh

397
00:16:47,033 --> 00:16:49,500
Aladdin when I worked on this show at ILM

398
00:16:50,100 --> 00:16:51,800
I for one of my shots

399
00:16:51,800 --> 00:16:54,766
I got a tons of layer of uh

400
00:16:54,766 --> 00:16:57,666
effects and I prepared my first version

401
00:16:57,666 --> 00:16:58,100
you know

402
00:16:58,100 --> 00:17:00,700
trying to integrate everything as good as possible

403
00:17:00,900 --> 00:17:03,100
but before publishing it for dailies

404
00:17:03,100 --> 00:17:04,066
so for my you know

405
00:17:04,066 --> 00:17:06,366
comp supervisor or something I

406
00:17:06,366 --> 00:17:09,366
I actually send it to the effects artist

407
00:17:09,366 --> 00:17:11,633
a link to the video to the clip and said like

408
00:17:11,633 --> 00:17:13,000
hey what do you think about it

409
00:17:13,000 --> 00:17:13,966
like um

410
00:17:14,266 --> 00:17:16,100
you know is that how you imagined it

411
00:17:16,100 --> 00:17:16,466
you know

412
00:17:16,466 --> 00:17:18,733
your effects elements being embedded and everything

413
00:17:19,666 --> 00:17:21,366
and the artist couldn't believe it right

414
00:17:21,366 --> 00:17:22,200
he was like what

415
00:17:22,200 --> 00:17:24,566
that never happens you know

416
00:17:24,566 --> 00:17:25,800
it never happened before that

417
00:17:25,800 --> 00:17:27,300
somebody from downstream

418
00:17:27,300 --> 00:17:29,000
asked me about my opinion on it

419
00:17:29,066 --> 00:17:31,233
and yeah I mean

420
00:17:31,233 --> 00:17:33,600
to be fair I don't do it all the time

421
00:17:33,666 --> 00:17:34,466
um

422
00:17:34,866 --> 00:17:36,000
or also rarely you know

423
00:17:36,000 --> 00:17:38,500
in a way but that was a good reminder of like

424
00:17:38,500 --> 00:17:39,266
hey yeah

425
00:17:39,266 --> 00:17:41,033
why are we not doing this more often right

426
00:17:41,033 --> 00:17:41,300
like

427
00:17:41,300 --> 00:17:44,400
we are all still we are working all on this together

428
00:17:44,733 --> 00:17:47,600
and sometimes it can feel that way

429
00:17:48,833 --> 00:17:50,766
that upstream departments

430
00:17:50,766 --> 00:17:52,700
maybe are already a little bit detached

431
00:17:52,866 --> 00:17:54,433
from a specific shot because they're

432
00:17:54,433 --> 00:17:55,366
you know their work is done

433
00:17:55,366 --> 00:17:57,000
and they're moving on to the next one

434
00:17:57,033 --> 00:17:58,966
but that was a good reminder also

435
00:17:58,966 --> 00:18:01,300
I think upstream to like hey

436
00:18:01,300 --> 00:18:02,600
you know we're

437
00:18:02,600 --> 00:18:05,066
we're still working on it together and it

438
00:18:05,066 --> 00:18:06,766
it reignited some you know

439
00:18:07,166 --> 00:18:08,966
some more like the flame again

440
00:18:08,966 --> 00:18:11,766
or also the accountability for the artist upstream to

441
00:18:11,766 --> 00:18:12,466
like you know

442
00:18:12,466 --> 00:18:13,233
still

443
00:18:13,233 --> 00:18:16,366
checking in and making sure to provide the best of uh

444
00:18:16,366 --> 00:18:17,533
their work right

445
00:18:17,800 --> 00:18:19,666
so um yeah

446
00:18:19,666 --> 00:18:22,400
that was also something nice to learn to like

447
00:18:22,400 --> 00:18:25,666
never forget um upstream

448
00:18:25,666 --> 00:18:27,166
you know in terms of communicating

449
00:18:27,166 --> 00:18:28,666
because we always think about like OK

450
00:18:28,666 --> 00:18:29,966
we have to like communicate

451
00:18:29,966 --> 00:18:32,433
you know like downstream

452
00:18:32,433 --> 00:18:34,966
like to the supervisor and everything what we did

453
00:18:34,966 --> 00:18:37,700
but it's also sometimes to check in nice

454
00:18:38,166 --> 00:18:41,966
um upstream and then um yeah

455
00:18:41,966 --> 00:18:45,233
I would say another memorable category is definitely

456
00:18:45,233 --> 00:18:47,800
when filmmakers are around

457
00:18:47,800 --> 00:18:49,766
you know and come by um

458
00:18:49,800 --> 00:18:51,833
that can be super inspiring motivational

459
00:18:51,833 --> 00:18:53,066
I just think about uh

460
00:18:53,066 --> 00:18:56,133
Christopher Nolan being around for Interstellar dneg

461
00:18:56,233 --> 00:18:58,000
looking at your shots and dailies

462
00:18:58,600 --> 00:19:03,066
uh the Wachowskis for Jupiter Ascending Hollywood

463
00:19:03,066 --> 00:19:03,900
like I said

464
00:19:03,900 --> 00:19:06,166
and then even we had Dennis Murren as a visitor

465
00:19:06,166 --> 00:19:08,233
one time that was awesome to have that I l

466
00:19:08,233 --> 00:19:09,800
m legend you know

467
00:19:09,800 --> 00:19:12,900
standing behind you at your desk looking at your work

468
00:19:13,100 --> 00:19:16,066
and uh also very special to me was um

469
00:19:16,066 --> 00:19:18,200
I l m when I started um

470
00:19:18,200 --> 00:19:21,033
and my first project happened to be Rogue One

471
00:19:21,033 --> 00:19:24,100
and I sat in dailies with my first shot

472
00:19:24,166 --> 00:19:25,166
comp shot uh

473
00:19:25,566 --> 00:19:27,500
published for dailies

474
00:19:27,500 --> 00:19:29,666
and I hear the voice of I am legend

475
00:19:29,666 --> 00:19:31,666
John Noel giving me notes

476
00:19:31,666 --> 00:19:33,066
yeah that was awesome

477
00:19:33,100 --> 00:19:33,800
yeah

478
00:19:33,800 --> 00:19:36,600
those are I think the most memorable that come to mind

479
00:19:37,166 --> 00:19:40,366
actually one more moment

480
00:19:40,366 --> 00:19:43,966
or category of moments that I wanna share is um

481
00:19:43,966 --> 00:19:49,233
feedback for my uh YouTube content for example

482
00:19:49,233 --> 00:19:51,700
or my online course that I have um

483
00:19:51,766 --> 00:19:53,100
published at the moment

484
00:19:53,766 --> 00:19:54,866
math for artists

485
00:19:55,433 --> 00:19:56,233
um

486
00:19:56,800 --> 00:20:01,366
that is just so such an inspiration and um

487
00:20:02,100 --> 00:20:03,633
so heartwarming sometimes

488
00:20:03,633 --> 00:20:08,833
um yeah when I like meet people or um

489
00:20:08,833 --> 00:20:10,366
you know like mostly at conventions

490
00:20:10,366 --> 00:20:11,666
when people actually come

491
00:20:12,200 --> 00:20:15,466
and talk to me and just wanna thank me for

492
00:20:15,633 --> 00:20:18,200
you know a specific video that helped them

493
00:20:18,600 --> 00:20:19,566
um saving

494
00:20:19,566 --> 00:20:22,600
you know a lot of time or just giving them some uh

495
00:20:22,600 --> 00:20:25,300
some motivation or a new perspective on things

496
00:20:25,300 --> 00:20:30,766
and yeah that's this is just absolutely wonderful

497
00:20:30,766 --> 00:20:32,033
yeah to get this uh

498
00:20:32,033 --> 00:20:33,166
this feedback because you know

499
00:20:33,166 --> 00:20:35,633
usually producing YouTube content

500
00:20:35,633 --> 00:20:37,966
or online courses is usually a one way street

501
00:20:37,966 --> 00:20:39,200
you know where like

502
00:20:39,200 --> 00:20:41,400
you're bringing it out there and then that's it

503
00:20:41,400 --> 00:20:45,900
there's not necessarily things coming back in that much

504
00:20:45,900 --> 00:20:46,800
you know obviously you

505
00:20:46,800 --> 00:20:48,900
you get uh comments on videos and all that stuff

506
00:20:48,900 --> 00:20:51,166
but to really get an interaction out of it

507
00:20:51,166 --> 00:20:52,300
is really wonderful

508
00:20:57,866 --> 00:21:00,766
that's definitely nuke um

509
00:21:00,766 --> 00:21:03,266
but I want to highlight something

510
00:21:03,266 --> 00:21:04,200
it's

511
00:21:04,800 --> 00:21:08,233
I try with you know every project and also like every

512
00:21:08,233 --> 00:21:09,700
every company to

513
00:21:10,633 --> 00:21:14,700
a lot of the times stick with vanilla nuke

514
00:21:14,866 --> 00:21:16,200
I know we have you know

515
00:21:16,200 --> 00:21:18,933
like tons of gizmos and tools out there

516
00:21:19,033 --> 00:21:20,600
that make your life easier

517
00:21:21,166 --> 00:21:25,500
but sometimes on purpose for some things

518
00:21:25,500 --> 00:21:28,066
I try to stick um with

519
00:21:28,066 --> 00:21:32,400
you know the vanilla new tool set and I tell you why um

520
00:21:32,700 --> 00:21:37,166
I have this knife nice uh analogy here which is um

521
00:21:37,866 --> 00:21:40,000
using nuke is like being a chef

522
00:21:40,000 --> 00:21:41,300
you have a full kitchen

523
00:21:41,866 --> 00:21:43,666
uh tools everywhere

524
00:21:44,000 --> 00:21:47,466
gadgets for every purpose and uh for example

525
00:21:47,466 --> 00:21:50,333
there's a blender that can puree in seconds

526
00:21:50,466 --> 00:21:53,466
there's a pasta machine that automates the rolling

527
00:21:53,800 --> 00:21:56,100
and even a fancy blow torch

528
00:21:56,100 --> 00:21:58,433
you know to like uh finish your dish

529
00:21:58,433 --> 00:22:02,366
but sometimes I like to just pick up the knife

530
00:22:03,066 --> 00:22:06,166
not because the other tools aren't great

531
00:22:06,266 --> 00:22:08,900
but because using the knife

532
00:22:10,300 --> 00:22:13,566
keeps me sharp it reminds me of the basics

533
00:22:13,566 --> 00:22:16,566
it slows me down just enough to question

534
00:22:17,600 --> 00:22:21,300
why am I slicing this this way

535
00:22:21,600 --> 00:22:24,000
um could I be doing this differently

536
00:22:24,766 --> 00:22:31,900
it helps me notice texture flow and detail and uh yeah

537
00:22:31,900 --> 00:22:33,400
something that I might miss

538
00:22:33,566 --> 00:22:36,066
if I'm just pressing buttons

539
00:22:36,833 --> 00:22:39,233
so that's how I feel about nuke

540
00:22:39,233 --> 00:22:40,433
um you know

541
00:22:40,433 --> 00:22:44,533
I obviously build advanced tools and gizmos and um

542
00:22:44,833 --> 00:22:46,100
custom solutions tailored

543
00:22:46,100 --> 00:22:48,766
to our production and pipeline needs

544
00:22:49,466 --> 00:22:51,866
and and I love that side of the job

545
00:22:51,866 --> 00:22:56,700
um but I also consciously stay close to the vanilla

546
00:22:56,700 --> 00:22:59,300
new when I can it keeps me honest

547
00:22:59,633 --> 00:23:02,266
it keeps me learning um

548
00:23:02,633 --> 00:23:04,400
helps me to avoid tunnel vision

549
00:23:05,433 --> 00:23:06,033
um you know

550
00:23:06,033 --> 00:23:09,566
where you start solving every problem the same way

551
00:23:09,566 --> 00:23:12,100
just because your tool says

552
00:23:12,100 --> 00:23:14,100
that's how it should be solved

553
00:23:14,500 --> 00:23:16,300
so sometimes the best approach

554
00:23:16,300 --> 00:23:19,100
I feel like is not the pre baked one

555
00:23:19,233 --> 00:23:21,866
it's the one you rethink from scratch

556
00:23:28,633 --> 00:23:29,633
um yeah

557
00:23:29,633 --> 00:23:30,466
I mean the

558
00:23:30,466 --> 00:23:33,200
the big topic AI is definitely here

559
00:23:33,766 --> 00:23:34,500
uh for me

560
00:23:34,500 --> 00:23:38,400
it's just interesting I feel like we have to find

561
00:23:39,766 --> 00:23:42,766
everyone has to find their role in this whole scenario

562
00:23:42,766 --> 00:23:45,900
now and I feel like um

563
00:23:46,600 --> 00:23:48,100
even if it feels maybe a bit

564
00:23:48,100 --> 00:23:48,900
um

565
00:23:49,233 --> 00:23:52,066
counter intuitive but I feel like

566
00:23:52,400 --> 00:23:54,500
going back to the fundamentals

567
00:23:54,833 --> 00:23:58,066
is definitely a good step as well

568
00:23:58,066 --> 00:23:58,633
so like

569
00:23:58,633 --> 00:23:59,166
coming

570
00:23:59,166 --> 00:24:02,033
out of the tunnel vision of your specific profession

571
00:24:02,033 --> 00:24:02,933
a little bit

572
00:24:03,500 --> 00:24:05,900
um because if we just look at

573
00:24:05,900 --> 00:24:08,200
you know prompting at the moment

574
00:24:08,266 --> 00:24:09,966
if you wanna create an image

575
00:24:10,066 --> 00:24:13,300
you know just working with compositing terms

576
00:24:13,300 --> 00:24:15,266
might not get it there right

577
00:24:15,266 --> 00:24:17,700
because you really want

578
00:24:17,700 --> 00:24:20,033
or let's say maybe a few of the things could help

579
00:24:20,033 --> 00:24:21,500
but you know

580
00:24:21,500 --> 00:24:23,866
definitely you wanna think about lighting as well

581
00:24:23,866 --> 00:24:25,266
you know if you create images

582
00:24:25,266 --> 00:24:28,333
you need to know about um

583
00:24:28,566 --> 00:24:31,100
lenses about photography in general

584
00:24:31,433 --> 00:24:33,966
uh how to direct the the viewers

585
00:24:34,266 --> 00:24:36,666
uh attention and all of that stuff in an image right

586
00:24:36,666 --> 00:24:38,733
so things that usually are

587
00:24:38,833 --> 00:24:41,400
you know taken over from

588
00:24:41,400 --> 00:24:43,866
you know upstream or neighboring departments

589
00:24:44,033 --> 00:24:47,666
you now as an individual working with prompts and AI

590
00:24:48,100 --> 00:24:49,100
have to tackle you know

591
00:24:49,100 --> 00:24:50,800
when you tackle them the best

592
00:24:50,800 --> 00:24:52,100
the way those prompts works

593
00:24:52,100 --> 00:24:52,666
obviously

594
00:24:52,666 --> 00:24:56,833
if you exactly know what creates a specific image right

595
00:24:56,833 --> 00:24:58,533
what do you have to feed it

596
00:24:58,900 --> 00:25:01,766
and yeah that would be an interesting one

597
00:25:01,766 --> 00:25:02,433
I mean yeah

598
00:25:02,433 --> 00:25:03,566
we know you know

599
00:25:03,566 --> 00:25:06,266
companies are already using depth estimation

600
00:25:06,833 --> 00:25:08,200
normals position

601
00:25:08,300 --> 00:25:12,000
what would be interesting would be uh

602
00:25:12,000 --> 00:25:13,866
an AI element library for example

603
00:25:13,866 --> 00:25:14,833
I would say because

604
00:25:14,833 --> 00:25:15,633
you know at the moment

605
00:25:15,633 --> 00:25:17,900
we're spending so much time on

606
00:25:18,200 --> 00:25:20,666
looking through element libraries

607
00:25:20,666 --> 00:25:22,900
you know trying to find the right element

608
00:25:22,900 --> 00:25:23,800
the correct element

609
00:25:23,800 --> 00:25:26,666
that behaves exactly like we needed for that shot

610
00:25:26,666 --> 00:25:29,033
and I'm not talking about the

611
00:25:29,033 --> 00:25:30,866
the major effects right

612
00:25:30,866 --> 00:25:33,766
those always as the same with the element library

613
00:25:33,766 --> 00:25:35,466
come from the effects department

614
00:25:35,466 --> 00:25:38,700
but I'm trying I'm talking more about like some uh

615
00:25:38,700 --> 00:25:40,766
supporting elements I would say

616
00:25:40,766 --> 00:25:41,433
you know that

617
00:25:41,433 --> 00:25:43,500
that you as a compositor realize like

618
00:25:43,500 --> 00:25:45,166
oh that could actually uh

619
00:25:45,566 --> 00:25:45,900
you know

620
00:25:45,900 --> 00:25:49,300
would contribute a nice touch to it if this little

621
00:25:49,433 --> 00:25:51,666
I add this little element here or something like that

622
00:25:51,666 --> 00:25:55,166
right and there's not necessarily the money or the um

623
00:25:55,600 --> 00:25:56,733
you know the

624
00:25:57,166 --> 00:25:58,700
the amount of people there to

625
00:25:58,700 --> 00:26:01,033
to provide us from from upstream departments

626
00:26:01,033 --> 00:26:02,866
or it's already too late for that right

627
00:26:02,866 --> 00:26:04,400
then I think uh

628
00:26:04,400 --> 00:26:07,800
things like extending shots

629
00:26:07,800 --> 00:26:11,433
you know like a little bit further out of frame for

630
00:26:11,433 --> 00:26:12,066
if you had to

631
00:26:12,066 --> 00:26:15,766
if you have to have camera shakes repost and uh

632
00:26:15,766 --> 00:26:16,433
such you know

633
00:26:16,433 --> 00:26:19,033
that that this could help instead of like us

634
00:26:19,033 --> 00:26:20,233
what we usually do with like

635
00:26:20,233 --> 00:26:22,700
punching in an image or having to like

636
00:26:22,700 --> 00:26:24,366
you know carefully extend it

637
00:26:24,433 --> 00:26:28,366
that this could help speed things up for retiming

638
00:26:28,366 --> 00:26:31,500
definitely AI would be a big thing

639
00:26:31,500 --> 00:26:33,500
you know to avoid artifacts and all that

640
00:26:33,500 --> 00:26:34,700
but then also in general like

641
00:26:34,700 --> 00:26:36,600
you know like creating a mood board

642
00:26:37,066 --> 00:26:37,700
um you know

643
00:26:37,700 --> 00:26:38,766
for look deving

644
00:26:39,400 --> 00:26:41,400
even for just brainstorming

645
00:26:41,400 --> 00:26:42,966
I find it super interesting

646
00:26:43,000 --> 00:26:45,466
so yeah I mean

647
00:26:45,466 --> 00:26:47,766
like I said we have to find

648
00:26:47,766 --> 00:26:49,400
you know our role in it

649
00:26:49,500 --> 00:26:52,766
um but I would definitely say we have now

650
00:26:53,266 --> 00:26:54,566
get out of the tunnel vision

651
00:26:54,566 --> 00:26:56,333
you know look over the fence

652
00:26:56,566 --> 00:26:58,800
uh to the neighbouring departments

653
00:26:58,800 --> 00:27:00,466
and all the other departments actually in

654
00:27:00,466 --> 00:27:03,766
in in that contribute to image creation because

655
00:27:04,300 --> 00:27:05,066
um at the moment

656
00:27:05,066 --> 00:27:06,966
the prompt is combining you know

657
00:27:06,966 --> 00:27:08,166
or like creating an image

658
00:27:08,166 --> 00:27:09,366
via prompt is basically

659
00:27:09,366 --> 00:27:11,700
combining all of those departments together

660
00:27:17,033 --> 00:27:18,100
for me over time

661
00:27:18,100 --> 00:27:21,933
I kind of like manifested those like two uh

662
00:27:22,000 --> 00:27:24,300
models of of learning for myself

663
00:27:24,300 --> 00:27:26,066
you know just to make more sense to it

664
00:27:26,066 --> 00:27:29,266
and the first one is basically that everything

665
00:27:29,666 --> 00:27:32,100
whenever we learn or acquire

666
00:27:32,100 --> 00:27:33,300
you know like new knowledge

667
00:27:33,300 --> 00:27:35,366
it feels like a random puzzle piece

668
00:27:35,366 --> 00:27:37,566
or it can feel especially in the beginning

669
00:27:37,566 --> 00:27:38,833
I would say of your career

670
00:27:38,833 --> 00:27:41,700
because there's no picture inside yet it's

671
00:27:41,700 --> 00:27:44,300
you know just scattered shapes that don't seem to fit

672
00:27:44,500 --> 00:27:45,900
and that's totally normal

673
00:27:45,900 --> 00:27:47,300
you know over time

674
00:27:47,300 --> 00:27:49,666
new pieces will you know

675
00:27:49,666 --> 00:27:51,900
snap into places and then even connect

676
00:27:51,900 --> 00:27:54,333
with several other ones at the same time

677
00:27:54,666 --> 00:27:57,766
and that way the reward suddenly compounds

678
00:27:57,800 --> 00:28:00,866
you know it actually multiplies

679
00:28:01,200 --> 00:28:02,266
and

680
00:28:02,833 --> 00:28:04,366
waiting for those big connections

681
00:28:04,366 --> 00:28:07,366
can be a bit stressful I find even

682
00:28:07,366 --> 00:28:08,233
you know or

683
00:28:08,233 --> 00:28:10,600
you know if if you think there's only that

684
00:28:10,600 --> 00:28:13,100
that one missing piece that you now have to hunt down

685
00:28:13,100 --> 00:28:15,000
but you don't you can't even name it

686
00:28:15,000 --> 00:28:16,566
you don't even know where to look for it right

687
00:28:16,566 --> 00:28:17,800
so then

688
00:28:17,800 --> 00:28:20,666
I like to switch to a different kind of learning model

689
00:28:20,766 --> 00:28:24,366
which I call the Indiana Jones Stepping Stone model

690
00:28:24,366 --> 00:28:27,100
or something like that so that's basically about

691
00:28:27,100 --> 00:28:27,400
you know

692
00:28:27,400 --> 00:28:31,266
imagine you are crossing like a very deep abyss

693
00:28:31,266 --> 00:28:34,600
or like chasm or what do you call it

694
00:28:34,633 --> 00:28:36,500
and you have to you know

695
00:28:36,500 --> 00:28:40,100
like by lying basically laying tiles ahead of you

696
00:28:40,566 --> 00:28:42,733
and any tile you choose

697
00:28:43,266 --> 00:28:47,533
will lock into the path that you already built

698
00:28:47,600 --> 00:28:50,000
so none of them will send you backward

699
00:28:50,400 --> 00:28:52,900
they simply branch the route in a

700
00:28:52,900 --> 00:28:56,033
slightly new direction and it doesn't matter

701
00:28:56,033 --> 00:28:59,466
you know if the next tile is AI or photography

702
00:28:59,466 --> 00:29:03,500
or Houdini or Python tools or something like that it

703
00:29:03,500 --> 00:29:03,800
you know

704
00:29:03,800 --> 00:29:07,766
the forward momentum comes from placing the tile

705
00:29:07,766 --> 00:29:08,666
so actually make

706
00:29:08,666 --> 00:29:11,766
just making the decision to place the next tile

707
00:29:12,600 --> 00:29:12,666
um

708
00:29:12,666 --> 00:29:15,733
and it doesn't come from just guessing the perfect tile

709
00:29:16,266 --> 00:29:18,933
so I don't know that helps me usually when I'm

710
00:29:19,033 --> 00:29:20,200
when I'm stuck and I'm like

711
00:29:20,200 --> 00:29:21,666
oh God what is the next

712
00:29:22,166 --> 00:29:24,700
field of knowledge that I have to do right now

713
00:29:24,700 --> 00:29:25,800
you know in order to

714
00:29:25,800 --> 00:29:28,566
to either like get the bigger picture

715
00:29:28,566 --> 00:29:31,166
or because this is maybe the new thing

716
00:29:31,166 --> 00:29:33,000
you know like AI right now or something

717
00:29:33,000 --> 00:29:35,633
you know that we have to look into that um

718
00:29:35,633 --> 00:29:36,900
Indiana Jones model you know

719
00:29:36,900 --> 00:29:39,600
gives me a bit of a different perspective on it

720
00:29:39,600 --> 00:29:43,566
because the unique sequence of steps that you choose

721
00:29:43,566 --> 00:29:45,066
then you know um

722
00:29:45,200 --> 00:29:47,466
gives you a perspective that no one else has

723
00:29:47,800 --> 00:29:50,800
so even catching up with the fundamentals again

724
00:29:50,800 --> 00:29:53,800
is not a move backward it's forward

725
00:29:53,800 --> 00:29:57,433
it gives you a new way to connect tiles forward

726
00:29:57,433 --> 00:29:58,000
there's even like

727
00:29:58,000 --> 00:30:00,200
a good extreme example of a guy I studied with

728
00:30:00,200 --> 00:30:03,466
who studied theology before um

729
00:30:03,466 --> 00:30:04,633
then joining you know

730
00:30:04,633 --> 00:30:07,333
the animation of VFX school

731
00:30:07,600 --> 00:30:09,266
and you would think like wow

732
00:30:09,266 --> 00:30:12,166
that's so far away from another

733
00:30:12,233 --> 00:30:13,033
but then obviously

734
00:30:13,033 --> 00:30:17,500
his deep knowledge of the Bible and the archetypal

735
00:30:17,900 --> 00:30:20,366
stories in it gave him

736
00:30:20,633 --> 00:30:22,466
I don't know an unexpected tile

737
00:30:22,466 --> 00:30:23,233
you know I would say

738
00:30:23,233 --> 00:30:26,833
an edge that none of us had in terms of storytelling

739
00:30:26,833 --> 00:30:29,166
for our animation short film projects

740
00:30:29,166 --> 00:30:31,433
so very interesting um

741
00:30:31,433 --> 00:30:33,633
okay next or

742
00:30:33,633 --> 00:30:35,200
you know adjustment I would say is like

743
00:30:35,200 --> 00:30:37,266
uh cultivate a network

744
00:30:37,266 --> 00:30:41,033
not just a resume so ask questions

745
00:30:41,033 --> 00:30:42,866
uh really important at the moment

746
00:30:42,866 --> 00:30:43,900
also with you know

747
00:30:43,900 --> 00:30:46,333
working from home and being a bit more isolated

748
00:30:46,700 --> 00:30:49,866
share small wins offer help also

749
00:30:50,066 --> 00:30:51,400
um you know

750
00:30:51,400 --> 00:30:53,100
the people that you meet in forums

751
00:30:53,100 --> 00:30:54,900
in dailies uh

752
00:30:55,166 --> 00:30:56,200
Slack channels Reddit

753
00:30:56,200 --> 00:30:56,800
whatever right

754
00:30:56,800 --> 00:30:58,133
they become the colleagues

755
00:30:58,666 --> 00:31:01,300
who recommend you for the next show

756
00:31:01,300 --> 00:31:04,466
okay next one I would say protect your health

757
00:31:04,566 --> 00:31:05,566
um you know

758
00:31:05,566 --> 00:31:07,366
long screen hours are real

759
00:31:07,866 --> 00:31:08,933
uh eyesight

760
00:31:08,966 --> 00:31:11,833
shoulders lower back sleep

761
00:31:11,833 --> 00:31:13,266
they all need maintenance

762
00:31:13,266 --> 00:31:14,266
so you know

763
00:31:14,266 --> 00:31:16,733
have maybe tiny daily habits

764
00:31:17,300 --> 00:31:18,433
stretching timer

765
00:31:18,433 --> 00:31:20,300
blue light settings um

766
00:31:20,833 --> 00:31:22,066
short walks you know

767
00:31:22,066 --> 00:31:23,400
just think about recovery

768
00:31:23,400 --> 00:31:27,766
and then one last point or mindset I would say is um

769
00:31:27,766 --> 00:31:31,000
I started to really hate that

770
00:31:31,100 --> 00:31:33,000
you know analogy when we say like

771
00:31:33,000 --> 00:31:37,233
we feel like a cog in a very big machine

772
00:31:37,233 --> 00:31:40,266
or something like that because it kind of like

773
00:31:40,266 --> 00:31:42,600
you know lets you think that all the cogs are like

774
00:31:42,600 --> 00:31:43,766
you know like the same

775
00:31:43,766 --> 00:31:45,433
and then contributing to the bigger picture

776
00:31:45,433 --> 00:31:50,300
but I like the analogy of instead

777
00:31:50,300 --> 00:31:53,233
you know being a spice in a well cooked dish

778
00:31:53,233 --> 00:31:54,766
for example so

779
00:31:54,766 --> 00:31:56,666
you know in VX we are all part of a bigger dish

780
00:31:56,666 --> 00:31:58,033
we know that uh

781
00:31:58,033 --> 00:32:00,866
could be a stew a curry sauce or something like that

782
00:32:00,866 --> 00:32:04,266
but the final product only works because

783
00:32:04,266 --> 00:32:06,566
of a lot of ingredients come together

784
00:32:07,100 --> 00:32:08,700
but uh

785
00:32:08,900 --> 00:32:10,766
some spices like uh

786
00:32:10,766 --> 00:32:12,900
smoked paprika saffron

787
00:32:13,000 --> 00:32:14,366
uh fresh basil

788
00:32:14,366 --> 00:32:18,066
they stand out and even in small quantities

789
00:32:18,300 --> 00:32:20,966
so you don't need to overpower the dish

790
00:32:20,966 --> 00:32:23,166
but you want people to remember ah

791
00:32:23,166 --> 00:32:27,166
that touch made it different or made a difference

792
00:32:27,166 --> 00:32:30,366
and that's what personal branding can be

793
00:32:30,600 --> 00:32:31,833
so you know

794
00:32:31,833 --> 00:32:34,866
whether it's being the go to person for complex paint

795
00:32:34,866 --> 00:32:38,533
tasks or Python toolkits

796
00:32:38,666 --> 00:32:39,933
camera tracking

797
00:32:40,533 --> 00:32:41,400
or you know

798
00:32:41,400 --> 00:32:43,900
just somebody who's steady under pressure

799
00:32:43,900 --> 00:32:44,866
or something like that

800
00:32:44,866 --> 00:32:49,700
so standing for something helps people remember you

801
00:32:49,866 --> 00:32:50,833
and being

802
00:32:50,833 --> 00:32:53,433
remembered is how opportunities come your way

803
00:32:53,433 --> 00:32:54,600
you know uh

804
00:32:54,600 --> 00:32:57,166
again and again so uh

805
00:32:57,266 --> 00:33:00,600
important is here though that you don't have to be loud

806
00:33:00,600 --> 00:33:03,333
you know you don't have to be self promotional

807
00:33:03,500 --> 00:33:06,066
or constantly posting on social media

808
00:33:06,366 --> 00:33:08,266
branding can be quiet you know

809
00:33:08,266 --> 00:33:10,933
it can be consistency it can be trust

810
00:33:11,166 --> 00:33:12,500
it can be bring

811
00:33:12,500 --> 00:33:15,200
a special flavour of problem solving to the table

812
00:33:15,200 --> 00:33:18,166
so yeah I would say that's important one

813
00:33:18,166 --> 00:33:19,500
it's not so you can show off

814
00:33:19,500 --> 00:33:20,566
but you know

815
00:33:20,566 --> 00:33:24,933
just people know how and when to lean on you

816
00:33:24,966 --> 00:33:26,433
thank you very much it was a pleasure

817
00:33:26,433 --> 00:33:27,700
thanks for having me on the show

818
00:33:27,700 --> 00:33:28,966
I hope you know

819
00:33:28,966 --> 00:33:31,766
I motivated you a little bit with some of the stories

820
00:33:31,766 --> 00:33:34,633
maybe or inspired you I had fun

821
00:33:34,633 --> 00:33:35,833
um you know

822
00:33:35,833 --> 00:33:37,766
if you wanna see more of my content

823
00:33:37,966 --> 00:33:42,700
check out split the diff on YouTube or my blog and um

824
00:33:42,966 --> 00:33:45,433
yeah if you wanna go a bit more uh

825
00:33:45,433 --> 00:33:49,000
advanced and enhance your skill set

826
00:33:49,066 --> 00:33:50,566
uh check out my online course

827
00:33:50,566 --> 00:33:54,433
math for artists on learn.split the diff.com

828
00:33:54,433 --> 00:33:57,800
it was a pleasure and my name is <PRESIDIO_ANONYMIZED_PERSON>

829
00:33:57,800 --> 00:34:01,666
I'm your favourite German Canadian composer

830
00:34:01,666 --> 00:34:03,333
and I'll see you soon