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SHOWREEL
GET TO KNOW JASMINE
Can you describe the extent of any relevant work experience you might have?
Although I don’t have direct industry experience, I have attended talks by industry professionals, giving me a solid understanding of what is expected in the field. Additionally, I have experience directing groups and actively contributing to roto prep problem-solving in group projects. These experiences have helped me develop strong collaboration and leadership skills, as well as a keen eye for detail and efficiency in problem-solving.
How would you describe your contribution to your group project?
In the project *Save Yourself*, I took on multiple roles, including Director, Roto Prep Artist, and Compositor. One of my key tasks was completing a full-body rotoscope of our lead character storming through a field, which greatly strengthened my proficiency in Boris FX Silhouette. Additionally, I created a clean plate by removing tripods and tracking markers from the scene. Roto painting the moving grass presented a unique challenge, but I tackled it successfully, further refining my skills in cleanup and compositing.
What do you specialise in and what made you choose that specialism?
I specialize in Roto Prep because of my strong passion for film, television, and commercial work. I thrive in the precision-driven process of rotoscoping, finding it both rewarding and engaging. My sharp attention to detail, developed through my fine art background, allows me to excel in prep and cleanup work, ensuring seamless and polished results. With a strong foundation in problem-solving and efficiency, I am eager to bring my skills to a professional pipeline and contribute to high-quality visual effects.
What would your ideal first role in the industry be?
My ideal first role in the industry would be as a Roto Prep Artist at a VFX studio, where I can refine my existing skills while learning new techniques in a professional pipeline. I thrive on challenges and am eager to grow as a VFX artist, continuously improving my craft. Gaining hands-on experience in a studio environment is a crucial step for me, allowing me to collaborate with industry professionals and contribute to high-quality visual effects.
Which of your student projects are you most proud of, and why?
I am most proud of my Specialism Project, a Roto Prep student project that involved a highly complex cleanup. The task required removing certain individuals from an indoor basketball court while ensuring others remained in the shot. What made this particularly challenging was the need to remove reflections and shadows from the court’s polished wooden floor, as well as the meticulous roto painting of small, panelled wooden walls. Successfully completing such a difficult cleanup reinforced my roto-painting skills and attention to detail, making it a standout achievement in my work.
What’s a piece of media (film, game, animation) that changed the way you think about your discipline?
Oppenheimer stood out to me because of its immense scale and the decision to forgo CGI entirely. Christopher Nolan’s commitment to practical effects was truly inspiring, highlighting the enduring importance of 2D VFX. The film serves as a powerful reminder that traditional visual effects techniques remain essential in crafting immersive and visually stunning storytelling.
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