10.02info

I’ve always been involved in some kind of special effects since I was very young.  From creating monsters in my garage for halloween, to becoming a makeup artist at the Haunted House in Six Flags Great Adventure at the age of 16, I was always going to work in film.

I started in film in 1981 when the movie “Creepshow” came to town.  I was working a nondescript job at the time, and had no possibilty of actually getting hired on the film.  All I knew was that George Romero was directing, and Steven King was the the screenwriter.  That was enough for me.  I HAD to get on this movie.  I bugged a frie3nd of mine who was working on the film to get me a job, and at 19 years old, I quit my job and offered to work for free.

In short order, I became a production assistant which, in this case meant digging holes in the sand and driving into town to buy Slim Jims for the director.  It didn’t matter, I was on an actual film set, and I wanted to make the most of it.

I spent the next three years looking for another film job, but pickin’s are slim in New Jersey.  However, in 1984 I landed a makeup effects gig on “Class of Nuke ‘em High” and I’ve never looked back……

After 10 years of working in Makeup effects, I saw the movie “Jurassic Park”.  Looking at creatures on the screen that were lightyears beyond what we were doing practically, I knew I had to adapt or die.  This has led to a life in digital vfx and probably why you are reading this blog right now.

In 2000, I went to Bulgaria to supervise a low budget creature film for NuImage.  While there, I saw an opportunity to create something new.  The potential appeared limitless, and I was ready to start a large vfx company.  In December of 2000 I went to NuImage with my idea and a business plan.  Surprisingly, they said yes, and in Jan 2001, I was off to Eastern Europe.

And Worldwide FX was born.  It’s been an interesting ride so far. I have had to adapt to a new culture, and learn a new language. I’ve had to learn a completely new way of doing business and dealing with people.  I met my beautiful wife, and now have a wonderful son.  In short, I’ve had to grow.

in 2006, because I have so much extra free time on my hands, I started a new venture. Eastern European Concepts and Consulting LTD.   From this generic name grew a new comic book company. This is the only comic book company in Bulgaria publishing original material. Over the years we have published sci-fi, horror, adventure, and children’s books. Recently we’ve been publishing historical comics in partnership with a national newspaper. These new weekly comics will be translated into English and published as a hardcover book later this year.

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These are my ramblings/musings/writings on life, comicbooks, the film and Visual Effects industry, and trying to live a creative life.

What this weblog is:

  • The Visual Effects industry from the perspective of head of studio
  • The activities of my company
  • Interesting anecdotes from the various films I’ve worked on

What this weblog is not:

  • A tip, technique, download repository
  • A VFX news page
  • A software review page

I don’t have anything against these other types of pages, I just feel that there are enough options in these areas.

I have described VFX 2.0 as the culmination of cheaper hardware and the accessibility of software.  Today’s laptop has the power of an 1980′s supercomputer, and graphics software is cheap or easily pirated.  In other words, a teenager in his bedroom now has the possibility of competing against established facilities.  Disruptions have occured many times over the years, and this is indeed a disruptive step.

This is not the first time this has been so.  The visual effects industry has always been challenged.  As motion pictures demand ever more impact, visual effects professionals are continually scrambling to create high quality images faster and cheaper.  The industry adapted to the advent of sound, the invention of video, even the arrival of computer graphics… but somehow, this change of the mid nineties was different.

But what was different?  The delivery and communication process.

The internet, with its web pages, email, and collaborative possibilities has forever lowered the bar for entry in the game.  Consider this situation

  • Anybody can make a virtual company online without any brick and mortar presence.
  • “The “Product” (rendered film frames) can now easily be transfered over the net.
  • Instant messaging and other communication systems mean that artist and technicians can distribute work across the globe easily.
  • Proprietary technology has been overtaken by off-the-shelf materials.

VFX Companies are some of the most creative entities around, but this is a tough set of circumstances to compete against.  They have always used cutting edge technology, and that practice has led to many innovations. Motion control and CGI are just two examples.  Both of which were revolutionary when they were introduced.  However, this continual R & D has a cost.  Movie producers have demanded visuals that surpass what studios did the year before, at a lower cost.  This has forced the industry to pursue alternative solutions to ever-expanding budgets.

  • Boutique houses briefly came into vogue as large facilities succumbed to market pressures.
  • In-house vfx departments were tried by various content providers, but ultimately were disbanded due to unprofitably.
  • By far the most controversial step was the establishment off-shore facilities.

Globalization is a reality in today’s world.  Just about every industry has been affected by it.  The VFX industry has not fared particularly well in this area.  Perhaps it is naive belief that the rest of the world can not compete, or innovate.  I think it is simply that the industry does not want to deal with globalization.

Whatever the reason, the industry has been changed in the last ten years, and will never be the same.

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