Bruce Branit-In The SpotLight
Bruce, can you tell us a little about yourself and your background?
Growing up, my older brother was always into filmmaking. I was often recruited as an extra or to hold a light, So, I was exposed to that since I can remember. The idea of making stories with a camera just seemed second nature. When I was 12, my father bought an Apple II, and I quickly immersed myself in programming and all things computers. I studied industrial design at the University of Kansas. As part of those studies and part-time work as a graphic designer I got into 3D and realized you could tell stories with this new tool. About this time the Video Toaster came out on the Amiga. A friend of mine, Jeff Scheetz, who started the DAVE School, split our savings and bought one, almost exclusively for the Lightwave program that at that time you could only get bundled with the Video Toaster hardware. I worked for an ad agency after college and started the first 3D department there. And then followed my dream of working in movies and television out to Los Angeles to begin working for John Gross and John Parenteau at Digital Muse.
Your initial background is in architecture and engineering, did you find a it a hard leap to the visual effects you do now?
I only spent a semester in architectural engineering before finding industrial design. But I think the education I got there, where we were versed in painting, color, and basic design theory, actually prepared me better for this career than a lot of my friends who came from film school backgrounds. I found that a lot of what I learned about basic design principles also applies to a spaceship blowing up or the way a shot cuts with another shot. I didn’t know screen direction from a jump cut, but those things I was lucky to learn on the job.
You’ve worked on some pretty interesting projects, how did you find working on episodic television?
I like working on episodic TV a lot. It is sort of like a never-ending marathon, but it keeps you sharp. Some of the most exciting times were in the early years of Voyager and Sliders. There was no precedent and no real expectations, so every week we were pushing what was possible. Even then, though, there was a desire to have effects like what we saw in the movies that year, on television for 5% of the time and budget the next year. That trend continues and today television is much closer to feature films in expectation, but not budget. But it is still exciting to work on shows like Lost and Flash Forward and be able to compete and succeed at such a high level.
You moved back to the mid-west, what was your main reason for leaving Hollywood?
I met my wife on the Digital Muse co-ed softball team. We are both Midwesterners and had thought at some point we saw ourselves moving back there with a family of our own. In 2003-04 Jeremy Hunt and I had a company called Strange Engine, and we had just finished a great and busy year but at the end of the year we looked for the giant bucket of money and after overhead, and taxes and the over-all cost of living in LA, it wasn’t there. So I figured if I could do half the work I was doing in LA back in Kansas City, we could have the same or better quality of life, as well as be nearer to family. So I was able to make the move and keep in touch with some of the people I had worked with throughout the years in LA, and so far it has worked out nicely.
Tell us a little about your company BranitFX; is it small? What are your main types of projects?
We are a small company. Today, we have 6 employees, and are staying quite busy. The last 2 years we have juggled 75% television and feature work from Hollywood with about 25% commercial work for local and regional agencies. Like everyone else in the business we are fighting lowering budgets that the recession and the competition in the VFX market have brought about. But being in a place like Kansas City allows us to be a little more maneuverable as the cost of living here is so much less we can pay our artists less, but keep them as staff year round. At the end of the year they have more in their pockets than friends working in LA for twice as much but going from gig to gig and having much higher living expenses.
How do you find the market for visual effects in the Midwest? Is a lot of your work, now, built on the reputation/contacts you made while working in Hollywood?
Exactly, that is the whole secret. There are a lot of small boutique FX shops both in LA and around the world. The key with all the successful ones, are personal relationships with VFX Supervisors and Producers. I think working remotely is more and more common every year but there has to be some assurance that if something is going wrong, you wont just disappear. If you are in LA a supervisor can come by and sit with you and your artists, and work things out. We can’t do that as easily so we have to be more proactive, more foresight with potential problems before that might become last minute problems. I work “side by side” with a couple other artists who are these sort of islands outside of LA, “Hollywood Ex-Pats.” And in every case they are people who have built trusted, personal relationships that prove they are not going to fuck something up.
Your short film, 405, how did that project come about?
At Digital Muse a producer asked about what it would take to land a jet on a freeway for a potential spot. The capabilities and the budget were so out of kilter that nothing ever happened beyond that. But I kept thinking about it and driving home from a friends’ house on the 405 I started snapping pictures for background plates and started building environments for a test shot. Jeremy and I looked at the shot and right there and then decided we needed to shoot something that told a great story. That weekend we shot and by Monday or Tuesday had a rough edit assembled.
What software/hardware do you use to pull your projects together?
Today, we are mostly a Lightwave and Fusion company. I love both programs and can personally do anything I need to with them. We also have seats of Maya and After Effects and hope to grow our Maya capabilities with the right artists in the next year. I am also looking to Nuke, as I have never seen a platform spread through all the post houses so quickly. It seems to have dominated market share in the blink of an eye.
Is there any one type of project that you like working on more than others?
I love television and film. We could stand to do a little more film work in the next year to balance out the pace of TV. I have directed and supervised the post on a few television spots and enjoy the process of developing the creative alongside the agency and bringing it together through production and post-production. Even commercials are little stories or short films if done right. It goes back to being involved and being able to donate some creativity into the project and have it accepted.
What type of formal training do you have in visual effects editing?
None really. Like I said, when I came to Hollywood there was a lot I did not know about film and staging and editing. I learned a lot from friends who had film school backgrounds. Jeremy and John Parenteau in particular. I found that I knew a lot intuitively, but still had to make some mistakes to learn what I didn’t know. The first time Dan Curry said that I had “crossed the line” on an effects shot on Voyager, I had to discreetly find out what the hell that meant. I enjoy editing a lot. It turns into another part of writing a good story. It makes you ask yourself what story and in what order are you trying to tell it. It becomes similar to what I like most about VFX work; a logic puzzle disguised as art.
Your new short, World Builder is amazing, and the storyline very touching, what was your inspiration for that?
Thanks. I had an idea for something along the lines of World Builder shortly after 405. But could never put the pieces together. At first it was similar to an idea featured in an old Twilight Zone where construction workers build our reality in the hours before we arrive at the present. I thought our current 3D tools made this work much better now than with 2 x 4′s and hammers. But it was an idea like 405 without the old lady, a cool thing to watch, but without something that connects the viewer to it it’s just an FX showcase. At a much later date, after I had moved back to KC, it occurred to me that it should be a love story and not just the story of a cool interface and a twist on reality. After that the story came out quickly.
What was the toughest part of putting that project together?
I was lucky on the shoot. The largest stage here in town was going to be green for another month and after that painted white for a while, so I reserved the stage and that set 100 balls in motion whether I was ready or not. My brother, the same brother I held lights for as a kid, is now a very respected DP and AC in this market. So he was able to call in some personal favors on my behalf and get an A-list crew to come in on a Saturday to help with the shoot. The toughest part started after that. That was realizing how long things were going to take while balancing paying jobs and sleep. You ask yourself a thousand times, “What am I doing and why am I working on this thing?” but once you are half way into something like that you have to finish or it becomes sort of a sad tragedy, and you really HAVE wasted your time. My wife became pregnant during the post and I set the due date as the due date for World Builder as I thought I would have no more free time after that. I didn’t make it but I managed to finish it about 6 months later. It is really not finished. There are a hundred things I would fix and change, but at some point you abandon it in the best condition you can leave it in and see if anyone likes it. I’m glad they did.
I saw where you used Lightwave on World Builder, how long have you been a Lightwave user?
I have been using Lightwave since 1992, probably version 2.0? Since before it was ported to PC’s from the Amiga and after that through the DEC-Alpha processor days.
How does your process or pipeline go when starting on a project like that?
I grew up writing stories and had a few published as a teenager. So I still write and develop in prose for a while to get the meaning and back story in my head at the very least. Then I get into story beats and script phases and how the story will work from fade-up to fade-out. And before shooting anything, a good animatic or rip-o-matic is a necessity today. From script to animatic to editing to post production, it is all about the story and those stages and tools can all work together to make sure the story is there and getting across to the end user.
I hear the production time on that was very quick, can you tell us about it?
Yes, the actual shoot was one 14-hour day. I had an animatic of the whole thing worked out in advance. When I showed it to my brother 2 or 3 days before I could feel the air draining out of the room as he watched and the animatic went on and on and on. It looked like an impossible day. But I printed out a frame of each take and each set up and sorted them on a board for like-minded shots so we were able to shoot off all the tight shots or all the hand interface shots in a very short period. On some cases we shot one take and moved on. We planned it so that for the builder there was one general lighting set up and shot all of that in the first 2/3s of the day, and then brought out a swingable key light and shot all of the woman’s scenes the rest of the day. it was a tough shoot but more because of the pace and not because anything broke or we had to stop and think or argue about anything. In the end the crew and talent made it happen and I owe them a lot for what they accomplished.
What do you like most about using Lightwave 3D? What do you think about the new incarnation, Core?
I always refer to Lightwave as an old truck. If it breaks, I can pull it over, open the hood and bang on it with pliers and it will work. I know what it will do and what it won’t and knowing that I can get it anywhere with oil and duct-tape. I feel that some other packages are more like a Ferrari and if it breaks I’m going to have to bring in a specialist in a clean suit to get it to do what I want. I know I am swimming against the current with this old-school thinking and am one step away from talking about “these kids today!” and I get that. I think CGI has been around long enough that there is actually already a generational division. When the programs were new, we had to find a way to make the software do things it was not made to do. We had to improvise and hack things together. Today there seems to be a tendency for the artist to be at the whim of the software, and not to think pragmatically. When I hear an artist say, “It won’t do it,” I want to scream. The software is a tool and sometimes the simpler the tool the better. That being said, I think there are astonishing things being achieved today through sheer technology alone that break that outlook into pieces. So my mindset is to find the simplest way to do something, always knowing that there are breakthroughs and new tools out there that can let us do them faster. But don’t ever loose the art for sake of the technique.
Where do you want to take BranitFX in the future, as far as projects?
I would like to continue to grow a little but not much. The key for us is artists that can do the work and bring something more than is being asked for to each and every shot. With that in place we can choose projects that are exciting and rewarding. It is hard to run a company and be a creative artist doing shots. Ultimately, I enjoy doing the shots so we are bringing on some producers and managers to run the company to keep me doing what I do better. I have spent the last year developing the story of World Builder as a feature film. We are close to getting it off the ground with the help of my agents at ICM, so hopefully in the next year we will be able to talk about the beginnings of the World Builder feature animatic and pre-viz work.
Whose work do you admire and has been an inspiration for you?
I’ve always been fond of Joseph Kosinski. His commercial work and visual storytelling are so far ahead of the game it’s hard to comprehend. I can not wait to see where he goes with Tron and cannot believe that such a perfect pick to direct that movie was actually selected and given the chance to do it as a first time director. It gives me hope in Hollywood, and I hope Tron is awesome. For general filmmaking and creativity from inspiration to execution, it is J.J. Abrams hands down. I think he is the Spielberg of this era.
If there is one person you can thank for your success, who would that be and why?
No, I can’t think of one. I owe a lot to my dad, my brother, friends in high school and college, co-workers, business partners, bosses and supervisors.
How do you find balancing your family life with having your company, BranitFX?
That is a very hard part of this business. Deadlines get pushed around shots get added and dropped so it becomes very hard to answer whether you will be home on a certain night on a certain week. My wife learned early when we were dating after we had to cancel a vacation at the last minute. The demands and expectations on VFX get more every year. Ironically part of the theme of the World Builder feature I am developing involves a man who is consumed by the demands and distractions of his work in a virtual world to a point where he is neglecting his real life and his family. It is only after something terrible happens that he realigns what is most important in life. I think we all need to sometimes take that step back and remind ourselves that it is only a movie, or only a TV show and unlike some other nobler professions, people will not die if our work is occasionally only 99%.
What other interests do you have outside of what you do now?
I enjoy sports like basketball and baseball. I am a huge and loyal Kansas Jayhawk fan. I used to golf and sail before having a company and a son, someday soon I hope to get back to those pursuits. Both me and my wife like to travel and my wife is the best travel planner I have ever known. She has a knack for finding out of the way places to stay and visit. We hope to expose our young boy to other cultures and parts of the world as much as possible.
What would a dream project for you be and why?
I am starting it now. And that is developing, writing, producing, directing and doing visual effects work on my own film, World Builder. When I am able to get away from the day-to-day deadlines of the visual effects business and spend days on story development I find myself reinvigorated. But I do not ever want to leave the VFX world behind; I think it has become as crucial to telling stories and the camera.
And lastly, what advice would you give someone trying to get started in visual FX?
It used to be to teach yourself and challenge yourself. Today there are a lot of good education options out there. But it is still possible to break into the business without going to one of those. You need to be able to break a shot down into steps and find a way to systematically go about executing your vision. Do something that inspires you; try to make a shot similar to something you loved in a movie. Compare your work to actual work you are seeing on television and in the movie theater. A lot of artists start out in a bubble and see their work as great because they made it. Grab some frames of a movie and compare the quality, because that is how your work will be judged; by those who would hire you. If you can make a shot that looks like anything you would see done professionally, that’s it, you’ll get a job somewhere.
Bruce, I want to thank you for an awesome interview. I and I know everyone else found the talk immensely entertaining and informative. Can’t wait to see what exciting stuff that’s going to come from you and BranitFX.
Thanks so much, Bruce!
Animating a Blockbuster-Pixars Success
I just finished reading an article that Wired Magazine wrote on Pixar Animation Studios and the making of Toy Story 3. I, like many other people, am a big fan of the studio and the great movies they put out. I have always been fascinated by the company and the success that they’ve had and like many artists and animators, would give my right arm to work for them… well, maybe not my right arm since I’m right handed. I love the passion that the Pixar employees and personnel show for their work and it got me to thinking about how my love for comics, cartoons and animation started.
Just a little background on me, my love for animation really grew from my passion and love for comicstrips & books, as far back as I can remember Charles Schultz and the peanuts gang was my sole reason for getting into art. I LOVE drawing comicstrips and that was what I wanted growing up, to have a syndicated comicstrip in the newspaper, of course I loved my Saturday morning cartoons as well, and like many kids would grab my bowl of cereal and plop down in front of the TV and lose myself for most of the morning. I wasn’t as much a Disney fan as I was a Looney Tunes, Warner Bros. fan, their style of slapstick, three stooges kind of humor really appealed to me and made me laugh out loud.
Since starting in 3D & animation about 3+ years ago now, and I am by no means calling myself a professional in it yet, have come to appreciate the whole process and time involved in creating something in 3D. I love the behind the scenes and making of parts of DVD’s almost, if not more, than the movie itself. Pixar, I would say, is the pinnacle of how a studio should work, animation or otherwise. I know of no other studio that has that kind of track record, where every movie they’ve put out has been not only a box office smash but been critically praised as well and where the employees genuinely love working for the company. Believable characters and great stories are a big part of the equation, be it 3D animation, comicstrips, or comic books, if they are to be successful and long-lasting. That was why I loved comicstrips as a child, Charles Schultz made me believe in Charlie Brown, Snoopy, Lucy, Linus and the rest of the gang as did all the other comics and cartoons I love. Who didn’t feel bad for or laugh at Wile E Coyote and his ever quest to catch the roadrunner, or Tom’s back and forth with Jerry.
I think as artists we long to create something that people can connect with and that stands the test of time, long after we’re gone. Pixar has managed to do just that, create characters and stories that people can connect with in some form or fashion and that will stand the test of time long after the people that started the company have gone.
Pixar has a great mix of elements that makes them such a successful studio. Starting with interesting characters, a great story, talented directors, animators and production people, add to that a totally collaborative effort and environment where even the most junior person has some input, which I feel is their strongest point, and top it with a burning desire to make everything you do better than the previous thing, to constantly push yourself and your craft. You can’t help but come out with a great product. Even the simple layout of their office, where everything from the bathrooms, lounge and eateries are centrally located and everyone can co-mingle with people from other departments, fosters a creative and collaborative environment.
So, Thank You Charles Schultz for initially putting in me that spark and passion for art, comics and cartoons, and Thank You Pixar for helping to keep it alive!! :0)
Ryan Drue-In The SpotLight
Ryan, can you tell us a little about yourself?
Well, my name is Ryan Drue and I was born and raised in San Jose, California. I’m currently happily employed as the resident artist here at Luxology. I have worked in most all aspects of digital multimedia. My first job in the “industry” was for a small production company creating DVD content. I was just out of school and did not get paid much but it was something. They sort of just threw me into production which, ended up teaching me a lot. I was the only full-time artist so I did all the DVD authoring, video editing and occasional After Effects work, which ended up being the high point of that place. Once they closed their doors I went back to driving a truck for my father’s construction company for another year or so until I was done with that life. I went back to school and took a 3D modeling class and shortly after I got my first real job in the industry as a full time 3D artist. At that company I spent a few years doing tons of 3D and motion graphics work for a wide range of clientele. From there I did the freelance thing for a bit until being picked up by Luxology.
When did you first get involved with 3D?
We actually had a copy of 3D Studio Max at my high school, but I maybe only ever spent an hour or two in it. After high school I went to a computer arts trade school of sorts and took my first Lightwave class in 2000. It’s funny I went to that school to learn video production but after seeing 3D my career plan changed very quickly. We were using version 5.6 but once Lightwave 6 came out I bought myself a copy and never stopped with 3D after that.
How did you get the job with Luxology?
That is probably a better question to ask Brad who hired me. I never would have thought I’d be working for a software company. Although I do remember a conversation with an old co-worker of mine when I first started producing a good amount of work in Modo. I distinctly remember saying “Man I just wish I could work for Luxology just making cool stuff”, or something like that. Two years later I received an email from Brad asking if I wanted to create some content for 401. I had demoed for Lux before and was pretty involved in the Bay Area Modo User Group so I knew him and the team a bit at that point. The fact I was local and was somewhat decent in most aspects of Modo made for a good match I suppose. I was freelance then, and had a few projects in production at the time so I did some material presets on the side, but once my schedule freed up I came on full time with Luxology.
What do you find most challenging working in 3D?
For me it would be animation, but probably only because I have never really focused on it. To be honest the most challenging aspect for me is never mastering any one area of the medium. Other than animation I really love exploring all areas of 3D. But that has resulted in never becoming a great modeler or texturing/lighting artist. I focus on one thing for a bit then another, then, try something new altogether. It is also very challenging just keeping up with today’s technology, there is always something new to learn.
I participated in your presentation on The Modo User Group, which was good, what was the main inspiration behind the HDRE Kit.
Thanks Don, I had fun with that one. The inspiration for the kit was to help streamline the process of High Dynamic Range lighting. Obviously you can just add a HDRI as the environment and turn on GI, but that only gets you so far. You still are left with aligning the camera and settings to a matching backplate, which can take some time. Also, we wanted to make it fun to just explore different environments and moods. And that is really the inspiration behind all the kits, making it quicker for users to create. You might not be any good at setting materials thus the PAD kit. You might have a great model and want to show it in a real world environment quickly, well that’s where HDRE comes in. Also, Brad and I both have interests in photography, so when sitting down thinking of the next kit this just seemed a logical next step. Yazan was in the midst of creating a more interior/studio lighting kit, SLIK, so we thought the great outdoors would make for a nice addition.
HDRE Presentation with Ryan Drue from Geoff Swartz on Vimeo.
What process do you enjoy more, teaching or actual 3D creation?
That is an interesting question for me because I never thought of myself as a teacher of 3D. Although at this point I guess I have done a bit… The creation of 3D imagery is my first passion and is very enjoyable, although it is extremely rewarding seeing what others are creating with some techniques I have shown through Luxology.TV. Hopefully I can continue to come up with ideas to pass onto everyone. I know how daunting it can be to learn 3D so any help I can give is actually very enjoyable. I think my personal work had slowed down a bit in terms of the amount I produce, but very few things in life are as fun to me as creating whatever it is in my mind.
You work is great, what type of 3D do you enjoy creating i.e. automotive, product, architectural, etc.?
I don’t think there is any one thing I enjoy the most. Definitely not characters, or at least photoreal humans. I’ve tried and failed miserably many times. Other than that I love it all. If you take a look at my body of work I hope you don’t see a consistent theme. Too often I see people pigeon hole themselves to one type of style. That’s great if that is your passion but there is too much out there to create for me. The most rewarding images I have done are just abstract shapes and colors. I was really into creating these glass like sculptures for a while. For me those are the most fun. Really I just like to explore form, lines and color. Whatever the subject matter may be.
What is a typical day at Luxology like?
Nothing is typical at Luxology… that’s why we all love it here. Brad normally starts the day with a break dancing battle, which he never wins. Normally that is followed by a Segway race around the campus. When we get tired of that we normally hit the pool for some laps, followed by a sauna and massages. The companies’ softball team normally gets an hour or two of practice in after lunch, we got to beat Autodesk this year. After that we are all pretty tired so it’s off to nap time. Somewhere in there some code gets written and I try to make something cool. All in all a pretty normal workday, if you ask me.
Allen Hastings, Stuart Ferguson & Brad Peebler seem like great people to work with, what’s it like everyday working with them?
They are all actually really cool people to work with and to know as friends. I was somewhat intimidated by them when I first was hired. But to be honest they are actually the most down to earth bosses I have worked with. Brad and I chat quite a bit on the future of Luxology, and being a part of something this special is very rewarding to me. Allen loves to talk rendering, as do I. Only problem is I can barely remember most things he tells me. I have asked him the same questions so many times, but things are finally starting to stick. Stuart is the brains behind the code and having the ability to sit and tell him the way I think things should work is pretty cool. Although he is always ten steps ahead of whatever I can think of.
Who’s work do you enjoy seeing and who inspires you?
In terms of modo users they are many, but a few always come to mind. Gelmi of course, the man is beyond prolific. It has been a great ride watching him become the modo master. Actually all those Brazilians get me going, Sampaio, Lightshock_Studio. Tim Cooper has always been on my list of favorites. To me his work is the epitome of photoreal. Yazan Malkosh is always inspiring me as well. Khalid Muharraqi might be my most beloved if I really think about it. His work had inspired me longer than any other artist. I could go on for a while here, Sha Ali, Jacques Defontaine, John Hayes, Eric Tobiason, Chris Morris, Rockmed, Boyang Zhu… and so many more. Sorry to all I forgot.
What outside interests do you have besides Luxology & 3D?
My main passion has been and will always be skateboarding. It can also be beyond frustrating trying a trick for hours and never landing it, falling, bleeding, screaming at the gods. Yet there are days when everything just falls into place and words really can’t describe it. Also, you’re outdoors with your friends having fun, can’t beat that. Photography has been quite an enjoyable passion of mine over the last few years.
What was the hardest part in creating the HDRE Kit?
Well nothing was overtly hard. More time consuming if anything. There was a challenge in framing the shots for sure. I was essentially shooting something that does not exist yet. So framing the composition took a bit of imagination. What sort of objects would people put it the shot, how large, and where, those were the thoughts going through my mind while shooting the backplates.
What would be a dream project for you to work on?
Not sure really, that is a hard one to answer. I sort of stopped dreaming of what’s next. Kinda sad really when I actually say it. I used to think I wanted to work on films and that was a dream of mine, but not so much anymore. If I had to pick something I would say any project that First Ave. Machine has done. No other company excites me on every new completed project like they do. I find them to be forward thinkers with an almost flawless track record of artist vision and execution. That is a team I guess I dream of joining.
What feature would you like to see implemented in Modo 501?
I don’t think I am at liberty to say because I already know all the features that will be in 501. So I think anything I say to that would get the conspiracy theories going. I can say I am very happy with everything that has gone into 501 already, and look forward to everything that ends up getting in. It will be a great release.
What other software packages do you use?
Nowadays only Photoshop and After Effects. I used to play with Maya and Lightwave but now it’s all Modo for 3D. If I were to pick up another 3D app it would be Houdini or RealFlow.
Do you find it hard balancing your personal interests with family and work?
I used to, but I think I have found the balance these days. I have no wife and kids so that makes things much easier in that respect. There was a time all my free time went into getting ok at creating 3D imagery and nothing else mattered. Friends would call to hang out and I would just say I am working on the computer today. Also when I was freelancing I always had a couple of jobs going at any given time. I became extremely stressed out and unhappy with my life. Made great money but I learned then money does not bring happiness. It does help, but it can’t be my driving force in life. I get offered freelance work all the time but that requires leaving work at night just to go home and start a new day, which lasts late into the night. Nowadays I do my job at Lux then try to spend the rest of my time with friends. Which is why you probably haven’t seen much work in the gallery from me as of late.
What other training videos do you have in the works, if any?
Nothing in works right now. The Shader Tree series was really the only training that was ever in the works. All the videos on Luxology.TV are just ideas that come to my mind, normally the day of recording. If I get an idea I think is worth sharing I will whip up a video for you guys. There are some 501 videos I have in mind, but again you will get nothing out of me on those.
If you weren’t doing this for a living what do you think you would be doing?
Think I would be doing or want to be doing… I would not want to think of what I would be doing. If it were what I want to be doing it would be a skateboarding videographer. That is what got me into digital arts in the first place. I still work on little videos with my friends and occasionally help out with some bigger videos.
Where do see the future of 3D and VFX heading in the future?
This is not so much where I see things going, but where I would want to see things go. No more 3D, stereoscopic that is. I don’t care if things appear to come off the screen. Just write better scripts and worry about the artistic side of things. I would love to see more abstract imagery that takes the story places you couldn’t other wise. I did not see the new Alice In Wonderland film but from what I’ve seen it seems as if VFX helped create something new and fresh looking. Again I could be way off, not seeing it and all. But the proportions of the Queen of Hearts and Tweedledee and Tweedledum just look cool to me. But I guess saying that takes away from my better scripts comment.
What advice would you give to anyone trying to get started in 3D?
Sit down behind your computer and don’t get up. It takes time to find yourself. I always focused on projects that were not overly ambitious, things I knew I could complete and complete well. If you try to complete a shot you saw in Avatar you will probably get frustrated and quit before you ever get started. That is probably why most of my work is very simple, in terms of the amount of content in a shot. But it gives me the ability to really dial in the materials, lighting, modeling and so on. You could spend a good amount of time just making a photorealistic pencil. I would try that before trying to make the whole room in which the pencil lives. But that is just me, and for the most part it has paid off. 3D is hard to learn technically but that is nothing without the artistic side of things. So you really must spend time learning both if you really want to succeed, in my opinion.
Ryan, I want to thank you for being so gracious in granting me an interview and sharing yourself with the rest of us, this was awesome! I and everyone else, looks forward to seeing what comes from you next, both in your personal work and Luxology work. If you would like to check out some of Ryan Drue’s work go to Luxology.com.
Thanks Ryan!!
Lee Stranahan in The SpotLight
Lee, can you tell us a little about yourself and your background?
This is pretty scary to me, but I’m in my 30th year of working in broadcast. I started when was 14 years old, as an intern on a TV show in San Francisco. That was in 1979 and I also owned a TRS-80. Those two things — video production and personal computers — have turned out to be real sustaining interests of mine, even at age 44.
Today, I write, teach and make films. I spent about five years working at NBC on the television show Access Hollywood as part of the animation and graphics team there. Prior to that I had worked in visual effects and production, where I did everything from 3-D animation, compositing, visual effects supervision to producing and directing. I was also the editor-in-chief of a couple of magazines, and worked in marketing and product evangelism for a few different companies.
I became familiar with you when you were with Newtek and doing training for Lightwave 3D. Do you still use the software? What do you think of its new incarnation, CORE?
I really haven’t done much 3-D graphics in the past year or so, but I still have a copy of the latest version of LightWave on my computer and if the need to do 3-D comes up it is my go to program. I haven’t worked with CORE but I think that Jay Roth and his programming team are bunch of really smart dudes who’ve taken on the task of creating an entirely new framework. That’s tricky, because there are all kinds of market pressures and legacy issues that make development even harder than it normally is. So it’s a very tough road to hoe, but if anyone can do it those guys can.
Can you tell us about your new venture, VFX Boot Camps?
I have a company called Film School Boot Camp that is creating these unique, intense life training events for people interested in filmmaking and effects. I’m trying to fill in the gap between sitting at home watching a tutorial video and taking a couple of years to go to film school. It’s for people who are starting to hit a roadblock in what they can learn on their own and who want to make the big step to getting better jobs or creating their own projects.
We did a visual effects Boot Camp back in December and it was incredible. We had Emmy award-winning VFX pioneer Ron Thornton and a bunch of other really talented people, teaching, on set supervision. One of the things we did on that was that everyone was able to take home a hard drive with all the Red Camera footage that was shot, so a small group of people were able to get on set experience, and then develop a custom real resume.
We have three events coming up; a horror film boot camp, that is going to feature among other instructors one of the absolute top directors in horror today – Darren Bousman, who directed Saw II, III and IV. Horror films have traditionally been a great way for filmmakers to break into the industry and this class will cover everything from no budget productions to studio franchise films.
We also have a 3-D stereoscopic boot camp coming up. That’s going to be outstanding — people are going to have a chance to work with a dual Red Camera stereoscopic rig that is absolutely motion picture quality. For anyone interested in visual effects, I’ve got to say that stereo is really where the jobs are going to be in the next couple of years. And this is a chance to get in early on this. The guys we have teaching the class — Jason Goodman and Daniel Smith — are both absolutely booked solid right now in a time where many people are worried about work.
The other camps we’re going to be announcing is an action/sci-fi film boot camp in August. That’s going to be taught by (among others) a really multitalented guy named Bruce Branit. If people haven’t seen Bruce’s film World Builder, they should look for it on Vimeo and they will instantly see why Bruce is going to be a force to be reckoned with in the next few years. As far as I’m concerned, this is like getting a chance to learn with Jim Cameron before he was famous.
It seems more & more artists are getting into training videos, podcasts, writing books, etc. Do you see that as being the norm?
I’ve been teaching about 20 years now and I’ve always said that teaching is one of the absolute best ways to learn anything. The Internet is just made everything explode, and I think it’s great that so many people are sharing their knowledge. In addition to the big losses are due to make a living, I’ve also tried to put out free tutorial videos on a bunch of subjects.
You have re-enforced the importance of social networking & marketing, tell us your thoughts on where you see sites like Twitter, Facebook, Linkedin & more going?
I love social media, and I think the thing that people who are skeptical need to realize is that sites like Facebook and Twitter are not just the future, they are where people are right now. Facebook has over 100 million active users. In my mind, learning to use these tools effectively is as vital for artists today as learning to use desktop publishing was 25 years ago.
You’ve worked in Hollywood at a few studios what was your main reason for leaving that environment?
I left Access Hollywood a year ago and moved my family to New Mexico, which is an incredible place for filmmakers right now. I really loved working with the great people at Access and working on the NBC lot every day was very exciting. But I want to start doing my own projects full-time.
There’s never going to be a “right time” to quit a job like that so I talked it over with my wife. And we just kind of went for it — I only had about three weeks of savings when I left the show. And we lived in a hotel for about six months – me, my wife, our two young kids and two cats. It was cramped, but I was doing stuff that I love doing every single day, and it all worked out in the end. We ended up in a great house, that we never could have possibly afforded in Los Angeles.
What discipline do you enjoy more; writing, VFX, editing, animation, interviewing, blogging?
It’s all kind of a blur to me at this point. I like doing cool stuff and getting projects completed successfully, and usually that involves doing a bunch of those things.
You recently wrote an Open Letter to James Cameron, I found it very interesting, about a VFX artist union or guild. Have you gotten a response from him yet?
No, but I didn’t really expect to. The response I did get close from the visual effects industry as a whole and has been incredible.
What do you see as a benefit of having such a union? What has the response been from other VFX artists on the subject?
The most common response was “thank God someone is finally talking about this” and I’ve been trying to do things like the VFX Town Hall events that are keeping the conversation going.
I should point out that I’m not in favor of or opposed to a union, really. I think some sort of union or guild is inevitable, because every other craft in filmmaking has one. But to me, later, it was about saving the industry as a whole. And that’s a much wider issue than just unions.
How do you see producers and directors feeling about dealing with a VFX union?
Producers and directors are really the ones who care much about it. And I don’t think it’s even really the studios or facilities that have stopped it from happening. I think there has been a visual effects unit in because at the end of the day the artists themselves haven’t wanted one.
I agree with you that the recent movie trend is going towards VFX ladened or animated films. How do you feel about the opportunities out there for a career?
I still think they’re great opportunities for careers in visual effects but like any field, you can’t really rest on your laurels. As I mentioned before, the guys I know working in stereoscopic 3-D are booked constantly right now. But a lot of times people become comfortable and complacent, and this isn’t really a good industry for that sort of mindset. I’d argue that’s a wider issue, too – but the whole economy is changed, and nobody can be complacent.
Speaking on movies, what did you think about Avatar and the VFX? As a VFX person yourself.
I think the biggest innovation about Avatar is the way that Cameron made the visual effects process part of production. Not just previsualization not postproduction — actual on set production. As part of why say the visual effects are the future of filmmaking, quite literally.
You also have very strong political views. How do you think that helps or hinders your VFX or artistic side?
Well, it certainly doesn’t hinder it. For me, it’s a matter of being honest. I’m not really good at the “blind loyalty” thing. I was a big Obama supporter during the last election, because I thought he really represented something new that would take on the special interests and the influence of corporate money. But he’s been a tremendous disappointment to me. I’m sort of a liberal/libertarian; I believe there needs to be a social safety net and I think there is some services that are better provided by the government, but think the government has proven itself to be a very dangerous thing. And it’s especially dangerous when giant multinational corporations get involved with the government and they work in tandem to make a small elite rich and powerful.
So, I have a few ways I can express those ideas; one is through writing editorial pieces, as I do for the Huffington Post. The other is through art — I can write satire, or I could make short films or I could even write fiction. They’re all just different ways to try to express something.
What would a dream project for you consist of?
Well, I’m really happy with my life. So in that sense every day is kind of like a dream project. But if you want a specific one that would be like winning the lottery — it would probably be developing a new move version of Ayn Rand’s The Fountainhead with Iron Man director Jon Favreau. I know that Favreau was inspired by the book and he is a very good filmmaker. For my part, I think I know exactly what to do with that novel in terms of the script and production to make it a great movie.
You recently had a new baby, congrats!, I also found your blog on your wife’s natural child birth interesting. How have you found balancing a family with your work & personal interests?
My oldest son Shane turns 18 this year and our baby, Van, just turned three months old. Plus I have a daughter Olivia who’s almost 11, my son Blackjack is almost 9 and my wife has a son, Steven, who is 24 and just had a baby himself. (Well not himself, but you get the idea). So we have this amazing spectrum of human beings at all ages of development — and we home school.
When I was touring doing seminars, my kids would often go on the road with me and help out with things like setup. Even at NBC, the kids would often come in and hang out in my office and have Jay Leno tease them.
I guess what I try to do is not so much balance work and my family, but to blend them.
Do you feel that the rise of social networking sites has leveled the playing field as far as getting artists work seen by the masses?
The Internet in general and social media sites specifically have created a real world of opportunity for any artist who wants to get their work out there. But I think you have to start really enjoying the promotional aspects as much as you enjoy the production aspects.
What is the best thing you love about your profession? What is the least?
I’ve really been able to meet and work with some amazing, interesting people. That’s the best part. I guess the worst part is probably people, too. I do not like people without curiosity or who play back room anonymous power games to hold onto their little kingdom.
If you weren’t doing this for a living what else do you see yourself doing?
Most of the “jobs” that I’ve had have been things I’ve made up, so I don’t really know how to answer that question.
What advice would you give someone just starting out in the VFX/Animation industry?
Find something you love doing and become the best in the world at it. Don’t be a generalist. Don’t wait for someone to find you — just go out and do cool stuff that you love doing, share with the world, try to keep an open heart and an open mind and watch what happens.
Lee, I’d like to thank you for taking the time out of your busy schedule and chatting with us, look forward to seeing what’s coming down the pipe with you. If you would like to learn more about Lee visit his sites at leestranahan.com or Film School Boot Camp.
Thanks Lee!!
Warner McGee in The SpotLight
Warner, can you tell us a little about yourself?
I was born and raised in Jackson, MS. My parents both were visual artists and my brother Scott is an accomplished screenwriter and theater artist. I grew up drawing, painting and doing creative projects. I studied art at the Savannah College of Art and Design where I majored in Illustration. Worked for 3 years as an illustrator for American Greetings. I’ve been freelancing since 1995. Most of my career has dealt with juvenile subject matter in some form. I do a lot of work in the Children’s book market and work with all of the major publishers. Some of my clients are Disney, Nickelodeon, Sesame Workshop and Big Idea. I work from my home based studio in Savannah, GA. My wife is a writer and my 2 young boys keep me laughing.
I love your style, have you always done the cartoon style?
I never really considered myself a “cartoonist”. I never read comic books or strips either but I was always drawing. I started off drawing caricatures and portraits and still do to some degree. I love animation and character design too. Of course the Disney artists were always a huge influence on my work early on. Then Pixar and DreamWorks came on the scene and really raised the bar even higher. The style that I enjoy working in is very structural but flowing. At least that’s the idea. Regardless of subject matter I love structural things. That’s why I’m drawn to 3D I guess.
When did you first discover Modo? What software do you use?
I’ve been with Modo since 101 when it was only a modeler. I was truly amazed at how cool the images coming out of that app looked. It was affordable and I’m glad I took the leap. It was was first 3D app. I also use Zbrush and am getting into C4D right now. C4D seems like a very nice compliment to Modo. It does things in a very “modo” way (intuitive) and I really am enjoying the dynamics module. Of course Photoshop and Illustrator are my 2D tools. I dabble in motion graphics too and enjoy Apple’s Motion and Final Cut.
What is your workflow process? Do you always start with sketches?
I always start with sketches. I draw better in my moleskin sketchbook with a ballpoint pen but it’s hard to beat the flexibility of working digital with my Cintiq tablet. I’d say about 95% of my sketches for my paying work are digital. Because I’m all digital from start to finish I work very fast. I’ll develop some sketches, fine tune them, drop them into my final document PS, IL or Modo and finish the project.
Do you also do other styles of 3D styles like realistic?
Yes. I work with some regional advertising clients that call on me from time to time to do things like Medical illustrations, industrial products and the like. Not very interesting work to me but it pays okay.
How do you balance work, family and personal interests?
I work from my home based studio with my door open. When the kids are not in school I love the sounds of “life” going on in the background. Working as an artist can be lonely at times unless you stay connected with people and the world around you. I love what I do as an artist so I “work” a lot. I’m passionate about making cool imagery so even in my down time you can find me sketching or building a model or some similar creative endeavor. My art is woven into my life with my family.
It’s hard to balance it all and especially as a freelancer. “If I don’t work then we don’t eat sort of thing” you know. That kind of pressure can weigh heavy on you if you let it. I pretty good about staying busy doing the right things and always working on my balancing. My family is great! They support and love me.
I’ve noticed that your work is primarily print, do you prefer to do that rather than animating?
I’m known as a character designer and illustrator. Over the last 8 years my work has largely been in Children’s Publishing. Most of the art styles in these books don’t lend themselves to 3D so my growth as a 3D artist has been slow until a few years ago. As my needs and interests change or evolve from still images to moving images I’m sure I’ll grow in that direction as well. As long as I enjoy the work and can make a living at it I’ll do it. Modo (my primary 3D tool) does not currently offer Character animation tools and I’m not interested really in animating robots (ha ha). C4D however can do character animations of course among other things so I WILL be getting into animation as long as it makes sense professionally speaking.
What would a dream project for you be?
Lead artist/character designer for a major film or licensed property. Working with other talented artists on an kick ass project like this. I do my best work when I’m surrounded by people that are better than me.
What was the most important thing you pulled from Savannah College of Art and Design?
How to draw really. I mean how to draw better and more structurally. Of course my illustration classes were great but this was at a time before computers so drawing and painting were pushed more. I benefited a lot at the time by asking a lot of questions of my instructors and visiting artists. I really enjoyed critiques too.
What would you like to see implemented in Modo 501?
64bit for Mac. Animation tools that humans can use and understand. Right now the power seems to be there under the hood but the interface tools are not there to make it easy to follow an understand. More fur controls would be nice too. I think it’s too early to wish for things like dynamics and particles. Maybe for 601.
If you weren’t doing art & graphics what would you see yourself doing?
Well, I am doing art and graphics. I want to do more ad work for sure. More highly detailed images that would pay more than books do.
In your video presentation you did a lot of work in post or Photoshop, is that your preference?
I know PS very well and what it can do so sometimes it’s easier, quicker and better to do things in post than in the Modo render. However the better I get at rendering the less I lean on PS. Yazan Malkosh has been a big influence on me regarding rendering. He goes to great lengths to get it right in the Modo render so there’s very little post work needed. I really appreciate his skills and have adopted some of his practices.
What part of the 3D process do you enjoy more; modeling, texturing, concept?
I like to both draw and build so it’s hard to really choose but I’d say the process of modeling is what I really enjoy most. Of course it’s nice to see that really clean render in the end but sometimes I’ll just stop at the end of a good model and consider it as a success.
What was your career path once you left Savannah college?
I was recruited by American Greetings right after I graduated SCAD in 1992. Worked there as a staff illustrator until 1995 when I moved back south to Charleston, SC to freelance full-time. I live in Savannah, GA now and still freelance.
What type of equipment do you use to create your projects?
I’ve always used Mac computers. I have a 21″ cintiq tablet and a 20″ Apple display run by my MacPro. I run Modo, Zbrush, C4D, PS, IL. I use Screenflow 2 for video captures, Transmit for transferring files. iWeb for my site, I use my Canon 30D with various lenses to photograph reference etc. iPhoto and Aperture to catalog my photos. iMovie, Final Cut and Motion for any video work I do.
If there is one area of 3D that you would say you need improving in, what would it be?
There are lots of areas that I’m interested in and even more than I need practice with. Modeling I’d say. I’m a good modeler but I can always get better and faster. I’m far from mastering it. I’ve not put in my 10,000 hours yet. 
Was it a difficult transition incorporating 3D into your traditional artwork?
The learning curve was hard to deal with in learning 3D. Once I gained some confidence with my 3D skills it was more natural. It’s no different than a painter moving from watercolor to oil really. They have to know what the tools can do and what they can’t do before they produce their best work. I’ve had some successful 3D projects but I don’t consider any of them my best. They are the best I could do at the time.
Where do you think the future lies in 3D whether it be print, movies, videos and more?
I see 3D moving in all directions. Still images, moving images , interactive imagery and combinations of them all like Augmented Reality. This is a very exciting time to be an artist. We have 3D tools that can make amazing images and experiences. It’s important to align yourself on a growth path with tools that are powerful but not at the expense of losing the art in what you make. That’s the unique part of the equation.
What advice would you give someone just starting out in the wacky but fun profession?
The 3D world is growing daily with people that can do amazing things. There are many directions and career opportunities. Focus on what you’re passionate about doing. Do the thing that you LOVE to do and be willing to sacrifice whatever it takes to get there. Don’t spread yourself too thin or you’ll never reach your full potential.
Warner, I’d like to take this opportunity for taking the time out of your busy schedule and sharing some of your insight with my readers. You truly are a blessed artist and am glad to have met you. Hopefully in the near future you’ll grant us a video interview with us. If you would like to see more of Warners’ fantastic work you can visit his website, www.warnermcgee.com.
Thanks Warner!!