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SHOWREEL
GET TO KNOW JOHN
Can you describe the extent of any relevant work experience you might have?
While I haven't been fortunate enough to gain direct experience, I have attended talks from members of the industry and received feedback from senior artists ILM which I believe have painted an accurate understanding of the standard of work required of me within the industry.
How would you describe your contribution to your group project?
My roles on Night Terrors were 2D prep and CG integration. The prep was cleaning up tracking markers which I accomplished with a blend of both 2d and 3d techniques, while the goal with CG integration was to make the assets as photoreal as possible. The project was aiming for a sort of 'sinister Toy Story' angle, meaning a realistic finish was critical to accomplishing the overall tone and making the toys feel threatening.
What do you specialise in and what made you choose that specialism?
My specialism has been in 2d and 3d clean-up techniques. I believe this creates the best jumping off point to an entry level role in the industry, but I also find it satisfying to clear up the plate of objects and imperfections. Methods involving a pointcloud are actually what spurred me to continue into visual effects originally, it felt like futuristic technology.
What would your ideal first role in the industry be?
2D Prep
Which of your student projects are you most proud of, and why?
I would say I'm most proud of my work on the 'Bird Attack' project. Whilst I'm still dissatisfied with the overall result, the clean-up I did was incredibly extensive. I removed massive support struts across the top of the shot that had moving elements in front of them as well as behind, drastically changed the height and width of the surrounding walls, then rotoscoped the foreground elements back over. When I finally handed over my script to my 2D lead, I had redrawn roughly half of the plate. It was the project I learned the most from.
What’s a piece of media (film, game, animation) that changed the way you think about your discipline?
Blade Runner 2049 hit me at just the perfect time to change my trajectory. I was in the third year of a college film course, and while I'd enjoyed directing my own projects I knew what I felt more than anything else was the pull of post production. Whilst I originally watched 2049 for its masterful cinematography, what really ended up hitting me was the tone and setting. At the time I wrote off films with heavy CGI and VFX use as lazy and in some strange way 'artificial', but this film convinced me wholeheartedly that professional visual effects work created by real artists opens up endless possibilities and can bring any creative vision to life.
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