Jen Howard - VFX Artist
Job title - VFX Artist
Experience - 10+ years
“Do whatever you’re doing now to the best of your ability. Even if it isn’t the job you ultimately want, or even the field you want to be in. Relationships are key and it can be surprising how someone you worked with ten years ago can pop up suddenly in a position to help you out later on. ”
Tell us about your job role and the kinds of projects you work on;
I am a compositor, and primarily use a software called ‘Nuke.’ A compositor marries together many separately generated pieces of footage so that they appear to be part of a single image sequence captured at one time. Often we insert rendered CG elements (animals, cars, robots) into live-action plates, or actors shot against green screen into custom environments (other plates, paintings, CG renders).
Frequently we try to maintain a realistic visual language, but can also pull together and massage elements for more stylistic, design-intensive productions creating new looks on the fly. We can adjust the placement of elements and overall composition as well as color and depth of field in order to create a particular feeling and direct the viewer’s eye.
Either approach requires a lot of collaboration with the CG artists who generate the non-photographic elements. This teamwork is key to identifying the most efficient path to a look the client will love, and this exploration and creative relationship is what I like best about my job.
What does an average day look like in your post-production working world?
The day usually starts with feedback on the previous day’s work, either during a one on one review or in a group dailies forum. There are always internal notes, and sometimes there are notes from the client too. If there is a posting scheduled for the client that day, then I prioritize the changes they’ll want to see first.
I also check in with the CG artists on the project early in the day so we can clarify right away who will be addressing which task. It is often true that a visual change can be accomplished both on the 3d CG side and on the 2D comp side - which tool you choose depends on your context. Some things to consider are time constraints, how many shots need the same change, and the odds of needing to make that same adjustment again (and again).
Then I get down to brass tacks and work my way through my list. I run updated takes fairly frequently and compare the new take to the old version to be sure the only things that have changed were things I intended to change; one of a compositor’s important skills is to not make accidental changes. When working I like to version up my scripts frequently so I can backtrack easily. This gives me the freedom to be a little dangerous while searching for new visual or procedural ideas. I also like to drink a lot of black tea.
How did your career in post-production begin?
I went to college for animation, as I was a fan of the medium, and discovered there that I didn’t have any talent for executing that craft. But in 1989 an animation internship connected me to Greg Jein, master-builder of miniatures for film, and he took me on as an errand boy, then taught me how to build tiny versions of things. I did that as a freelancer until about 1997 then crossed over to the digital side, as word on the street was that computers were going to take over all our physical work.
It was a great time to move into digital image making because a lot of it was being built right then, and nobody really knew where it would or could go. And you could just say, ‘hey do you need an extra hand?’ And there you were because not many people were more experienced than you. We were all learning together.
Tell us about a career highlight;
I can think of a few things…one would be dressing entirely in garbage bags and paper plates for an annual trivia fundraiser and not losing any of those pieces the entire evening. Another big one is working on the first three Pirates of the Caribbean movies with their ambitious and unique visuals. And best of all, discovering Chicago and the people at Carbon.
Which women in post do you admire?
The women who comp and roto at ILM San Francisco are outrageously talented!
What advice do you have for other women wanting to start a career in post?
Do whatever you’re doing now to the best of your ability. Even if it isn’t the job you ultimately want, or even the field you want to be in. Relationships are key and it can be surprising how someone you worked with ten years ago can pop up suddenly in a position to help you out later on.
If you’re interested in film, explore options outside the US where a lot of that work is now, and be prepared to be freelance and hop from studio to studio.
Also, don’t be scared by software. Your most important asset is your ability to know what an image needs visually. You can learn any software.
Work/life balance can be challenging. In both film and spots work client comments and changes can come last minute, often with no corresponding adjustment to the project deadline. This can spike your hours worked (evenings/weekends) with very little warning. However this can be buffered by the culture of the company you’re in, so pay attention to how each studio wrangles those situations.