Success stories about our escapees are always a pleasure to write up. What's even better though is the opportunity to write another, on the same person, just a year later! Mark Pascoe recently answered some questions for us, explaining his journey from studying Sports Science at University to working on the VFX for an Emmy nominated TV Show for the Discovery channel.
Today is a very exciting day for a lot of people here at Escape Studios. Yes, today marks the end of course for a few of our classes (Visual Effects Production and Visual Effects Animation Professional). And to celebrate this graduation day, we thought we’d give a little preview of what we do as a Bon Voyage for our escapees.
We’ve just had some exciting news from the lovely people at Creative Skillset. The creative industries’ sector skills council are currently running a pilot scheme for short courses that provide training in areas such as TV, film, radio, interactive media, animation, computer graphics, facilities, photo imaging, publishing, advertising and fashion & textiles. By making training in these areas more readily available, they hope to open up these industries and create a more diverse pool of talent right here in the UK. And we’re delighted to play a part in that ambition.
Having previously worked in the games industry and studied Computer Games Art at degree level, Ewan Armstrong wanted to broaden his skill set to make the transition into film and TV media. Ewan made the decision to study at Escape because he saw an opportunity to fill the gaps in his knowledge on production rendering techniques, camera tracking and compositing, all while being in an environment closely linked to the VFX industry.
Over the weekend we attended the London VES Career Fair & Tech Expo, and let’s just say it put Love Box to shame with the numbers who turned out for the event itself! Queues of aspiring VFX artists patiently lining up to speak to representatives from some of the world’s greatest post houses, including ILM, Framestore, Pixomondo, Method Studios, Cinesite, Prime Focus and Disney, really highlighted just how much competition there is to get your foot on the first rung of the ladder in the world of Visual Effects.
After a previous visit to Double Negative, James Dower and his class mates really got a taste for the high standard of work that DNeg set. And on this, their second visit, they were all keen to get some professional feedback for their own VFX Production projects.
Want to introduce yourself to some of the fundamental techniques of compositing? Well now you can. The lovely Simon Richardson, compositing escapee and one of our esteemed Studio Assistants here at Escape, has put together a free NUKE tutorial that will demonstrate exactly that. This short video will walk you through a basic CG rebuild inside NUKE, using Maya’s Mental Ray passes. For anyone starting out using this software, it’s a great insight into the processes behind building a shot ready for edit.
Doing a VFX course can lead your career in many directions. For many of our students it has been the launching pad for a career in post-production, for film, TV and commercials. Many students have also gone on to work in other areas such as games and architectural visualisation. We teach the fundamentals and practicalities of working in CG, paving the way for what you will eventually specialise in.
I have found that there are many advantages to studying at Escape Studios. Aside from the obvious vast amount of knowledge that you acquire, you also get to visit and meet some very cool places and people. Last Friday we had the pleasure of visiting Framestore for a presentation with Ben Frost and Chas Jarrett to hear about their experiences working on the second Sherlock Holmes movie - A Game of Shadows. In particular, they discussed with us the typical hurdles and constraints they came across and what we as VFX artists may expect to experience working in the VFX industry.
So it’s almost bank holiday weekend and your old pal Ash is gonna give you another one of his awesome tips before you spend the next three days drinking your body weight in alcohol and watching The Avengers… seriously, how awesome is that film?!
It's important to only isolate three separate elements per ID pass, or the technique becomes redundant. For example, if I had made both the windows and door red in the image for Part One of this blog, then any colour correction I applied to the red channel in NUKE would affect them both. You've already seen a broad example, but there's no reason you can’t use ID passes to focus on more specific areas of your render. The image above shows an example of an ID pass refined to specialise in the windows only. This kind of pass would be useful if the texture I added to the window transoms (red bits) had rendered far too dark, but everything else rendered correctly, as I would be able to adjust them without damaging the rest of my render.