Ben Snow :: Meet the Artist

#23

Wow thanks a lot, know that this is apreciated a loot,we don’t have ILM guys around everyday :slight_smile:

Just one last question from me , i can’t get answer on forums

  1. I have some reels i use as reference to work on my reel for character setup, but i haven’t found a character rigging reel yet, from a guy in pixar or ILM.I need to see what kind of a reel it takes for a guy to get in pixar or ILM as Character rigging td?It will help me tremendesly if you can give me direct links for download or links to some of ILM’s people web sites with rigging reels.And any advices from you to get in ILM as creature TD?

Take care and thanks again

#24

I have a technical questions: At what Resolution/shadingrate/pixelsamples ILM renders when they use Renderman? Yes I know this differ greatly from shot to shot but if you can give me the numbers for one or two particular shots i can extrapolate it for most of the others. I’m interested in the demands of Picturequality you guys have (technically).

#25

Hi Ben,
What would u suggest someone who is interested to become a vfx artist to study in college? Computer science or a BFA related major?

Cheers,
Ray

#26

Wow sir, no questions, just a quick comment;

Fantastic resume you’ve got, it must be a dream come true to be you! lol

About every movie you’ve worked on is in my top personal favorites list.

#27

Hi Chris

Your question: Should I go back to University to attain a qualification in Visual Effects in the hope of gaining emplyment in the industry, or would I be better served trying to get an internship in one of the VFX studios at the moment, in the hope that I will be able to develop my skills while working?

That’s a big question and is something you really have to sort out for yourself. Since I don’t know your situation, take this as pretty general advice. If it was me, and I could afford it, I’d go back to University. Its true you’ll probably have to still pay your dues somewhat in an entry job in the industry, maybe even an internship but the skills you’ll pick up in Unversity will help you shine when you get the opportunity - and that’s what it is all about. Also, you can use the time to help build a reel of work. And you’ll make connections with other artists that can be helpful later on.

All the best either way.

#28

Wow, I don’t think I’ve seen a reel dedicated to rigging or creature TD stuff. Many of the specialists in that field have a fairly technical background combined with an eye for motion. So you’d want creature work and/or simulation on the reel, and also to display some experience/ability for scripting/programming.

cheers

#29

Hi Ben,

I’m studying Digital Arts at Australian National University here in Canberra (which somehow made reading about your career very inspiring for me!).

I’m nowhere near certain as to which specific field I’d want to go into yet (just soaking up every bit of CG information I can!), but when I look at the wonderful works being created out there in the industry, I feel the skills I’ve gained so far in my studies are really insignificant!

My question is, what’s the best way for a student such as myself to gain useful experience, or to learn more about how the industry works, and how to function within it?

Regards,
Alexander

#30

Hi Ben,

 We have a bet going here at work regarding if two certain shots of iron man are cg or not. One of them is the trailer shot of downey in the suit with the visor up (then coming down). The other bet is regarding a press photo. I've attached still frames of both of them. Are they cg or the winston practical suit?

 [img]http://niklasstrom.com/misc/ironManBet/ironMan_pressStill.jpg[/img][img]http://niklasstrom.com/misc/ironManBet/ironman_trailerShot.jpg[/img]

Thanks a lot for your help!

#31

Thanks for answering my question Ben, it’s much appreciated!!!

#32

Rayalistic’s Question: What would u suggest someone who is interested to become a vfx artist to study in college? Computer science or a BFA related major?

We look for a blend of artistic and technical skills at ILM. For entry level positions we definitely require some demonstrated technical abilities and simple programming. If you have a fine arts type background it would be good to show some evidence of having some knowledge of programming or some sort of computer scripting. Or you can take the approach of a CS degree with some elective work in arts. I had a computing degree with a major in film and found my technical training always valuable, indeed I sometimes wish I’d studied math a little harder. For animation jobs we prefer either a lot of experience or formal animation training. We have artists at ILM with all sorts of backgrounds. For the higher end jobs we look for several years film industry experience, but things change depending on supply and demand of course.

For getting into the business I’d say build the skills and have them in your back pocket but start entry level somewhere, maybe in a small facility where you can get rounded experience. Your skills and talent will help you move ahead and ensure you make the most of any opportunity.

I wish you the best.

#33

My question is, what’s the best way for a student such as myself to gain useful experience, or to learn more about how the industry works, and how to function within it?

Read sites like this one, plus cinfex, cg world magazine and cinefex. Look at DVD supplements. But like any industry job you want experience and a reel - so try and make animations and renderings as much as you can a Uni. Look for internships in the industry and even consider trying for a summer job at a post house or FX facility. Some people even start out by volunteering. I firmly believe it makes sense to start with a smaller place and get experience before trying to join a larger FX house. If you have a home computer you can download many major software packages for self-training and others have good deals for students. And its a noble art to try and weasle render time or indeed any media resource out of your institute. I actually ran the ANU film group for several years so of course I’d suggest making sure you join them and see as many movies as possible. And put some of that film-making equipment to use if they still have it!

All the best.

Ben.

#34

Hi

Both the suits you show are the practical suit, and they’re beautiful, aren’t they? Shane Mahan and the Winston folks did a great job on them. The top one has been touched up a little - most obviously in the glows, and on the bottom one we did some repair work on the neck and made the helmet close a little faster (in 2D). The most obvious give-aways that they’re practical are the shoulder pads which are plastic rather than the more metallic finish on the rest of the suit, and thus have a different specular highlight, and also there’s no way we’d be allowed to get away with having the faceplate so clean for one of our shots. Funny story about the second image. The shot that appears after it in the movie is also a shot of the practical suit as he readies for take-off. One day I got a call from Favreau asking if we could do something the shot, saying it was the sort of horrible CG look he was afraid of having in the film, and the studio was also concerned. After working out which shot it was I had to inform him it was the practical suit. We tried to sharpen the highlights and do some other stuff in compositing to make it a little less plastic for the final to avoid adding a CG shot.

#35

I have a technical questions: At what Resolution/shadingrate/pixelsamples ILM renders when they use Renderman? Yes I know this differ greatly from shot to shot but if you can give me the numbers for one or two particular shots i can extrapolate it for most of the others. I’m interested in the demands of Picturequality you guys have (technically).

Reply:
Its something we don’t like to get too specific on, but we generally render at 2k which is frankly a little high and soften the Cg in the comp to blend it better. Pixel samples might be around 10 and shading rate 0.5 but on some shots we tried some crazy shading rates to try and get the brushed metal to work (we got around this with some cool shader tricks Doug Smythe and the shader guys came up with). We also vary render resolution sometimes to get extra detail and get around mip-mapping sampling issues - it really does vary greatly shot to shot.

#36

One last question from me

Would you accept a guy in ILM without a degree and no work experience but a really really great reel in his field?

#37

Hey Ben! I got two questions, if it has been answered just tell me which post. Thanks in advance!

Where did you go to college to study and what degree did you get?

And how did you get the job you have now, what were some ofthe steps taken?

Thanks again!!

#38

Thank you VERY much, for your answer about Shadingrate/Resolution/Pixelsamples this helped me a lot.

So thank you for hanging around here at good old CGTalk.

#39

Hi Ben,

Its great to read about an Aussie that has become so successful in the Visual Effects field. I saw Iron Man the other week and though the CG, compositing and overall the whole movie was great, really enjoyed it and will watch it again when it is out on DVD.

I am in Sydney Australia and currently in my 2nd Year of a Computer Science/Digital Media Double degree. I have just started learning Maya and so far am quite enjoying working in 3D/CG and is certainly one of the fields I am interested in looking at a career in.

Do you feel that if one wants to become very successful in the Visual Effects/CG industry that they need to leave Australia and move to the US?

Is Australia a reasonable place to get started in the industry?

Is having the degrees that I am studying enough to get a reasonable starting position or are there any course/books/learning you would recommend?

Regards,
Zac

#40

Hello Ben

Thanks for your reply on pipeline, Spiderwick and contact with matte painters! Really helpful for me, thank you.

If you get time, I have another question about the role of planning and pre-vizualisation on action scenes. As an example, Jeff Bridges and Robert Downey’s fights in Iron Man:

I’m keen to understand, how tightly are the shots pre-vizualised - effectively a fine cut of the finished scene? (apologies if this displays my ignorance of the process here!), but I would like to understand, how much can the director alter shot length by a few frames in the cut?

For fight scenes for instance, how much freedom would you get with the actual content of the scene, once the outcome and general feeling is established in planning?

Thanks again!

Felicity

#41

Hi Ben,

Two questions for you if you’d be so kind,

Looking retrospectively now back on your career so far, what have been the highlights for you in terms of areas that interest you most?

I am most interested in character/creature setup, where do you see this area of specialisation moving in the next decade or so, and what interests you most about this particular field?

Kind Regards,

David

#42

Question: Would you accept a guy in ILM without a degree and no work experience but a really really great reel in his field?

It would be a long shot - but you’d have to check with recruiting. You can find them on the web. If its a really great reel and the work you display on it is in a discipline they’re looking for at the time, I’m sure they’d love to see it!

All the best.

Ben.