After graduating from Vancouver Film School I started my VFX career in 2007 at Image Engine in Vancouver where I worked for 8 years, with my last project being VFX Supervisor on Straight Outta Compton. I then went to OATS Studios and Umedia before returning to Image Engine again as VFX Supervisor on Pokemon: Detective Pikachu. After wrapping that one up I started my own business under Hive VFX using AWS.

Outside of geeking out at a computer, I enjoy anything in the outdoors, hiking, running, biking and skiing among others.

Continue Reading "INTERVIEW: Bernie Kimbacher, VFX Supervisor & Founder of Hive VFX."

 

Over the last two parts of this series, we’ve talked about how the Coronavirus pandemic has impacted the VFX industry globally, how VFX vendors are adapting, and the opportunities presented to us to manage our own time, increase productivity, and gain greater flexibility in our lives. In this third and final part, we’ll discuss some of the potential pitfalls that working from home brings, how you can make the most of the situation, and even find an opportunity for growth.

Continue Reading "COVID-19 — An Opportunity for the VFX Industry: Part 3."

My name is Gen (Genevieve Camilleri) and I recently finished working on my first feature film as a VFX Supervisor for Mill Film, Adelaide. I started my career 11 years ago in Melbourne, Australia and have since worked as a Senior compositor, Lead Compositor, Compositing Supervisor and DFX Supervisor for various studios such as ILM Vancouver, Animal Logic Sydney and Method Studios Montreal.

Outside of work, I enjoy spending my time outdoors doing anything from hiking, climbing to snowboarding.

Continue Reading "INTERVIEW: Gen Camilleri, VFX Supervisor."

 

(In Part 1 of this series, we take a look at why security in our industry is water-tight, and the infrastructure challenges presented by working from home. It shines a bright light on how incredibly many folks have adapted to the new ways our industry has been forced to operate. If you haven’t yet read it, you can do so here.)

For the VFX industry and its workers, the global Coronavirus pandemic has presented an incredible opportunity to step up, and prove we can do better. Just like Movie studios, VFX vendors are first-and-foremost a business. Successful business growth requires many things, but the underlying tone of it all is: a constant increase in productivity generates more profit, which generates expansion and more work, which then needs greater productivity, and so on.

Over the past few years, I’ve enjoyed reading about intelligent folks’ systems, and how they manage their time and energy for maximum output every day. One of the primary benefits of working from home is having more control over managing our own time. In this article, I’ll be sharing some tips on how I leverage this flexibility to be a more effective member of my team.

Continue Reading "COVID-19 — An Opportunity for the VFX Industry: Part 2."

 

For many of us, the past few weeks have been some of the strangest, most uncertain times in recent history. The Coronavirus has shut us all in our homes and threatened our contract-based livelihoods for the foreseeable future. Movie studios are postponing productions, and VFX vendors worldwide are rapidly adapting both infrastructure and security protocols to enable artists to work from home and finish existing projects, where possible.

For the VFX industry and its workers, these global changes present an incredible opportunity for us to step up, and prove we can do better. Working from a remote location (in this case, home) offers plenty of benefits to employers, employees and our valuable clients. Some industries already thrive in location-independent workplaces, and have made this transition seamlessly, but what about the VFX industry? Working from home has never been an option for us in the past, so why has it taken a global pandemic for this sudden shift in mindset, and how can we make the most of it?

Continue Reading "COVID-19 — An Opportunity for the VFX Industry: Part 1."

This week’s newsletter includes:

  • An interview with Ivan Busquets, Associate VFX Supervisor at ILM Vancouver, and handy tools he has created:
    • Voronoi pattern generation via Blinkscript.
    • A python script to snap one piece of geometry to a selection of vertices on another piece of animated geometry.
    • Keyboard shortcuts to manage layering & colouring of large amounts of Backdrop Nodes.
  • Also, a Nuke Script from Jack Hughes to help generate Movie Barcodes.

Click here to read!