What course did you study?
How did studying at Escape Studios help you into the world of VFX?
Prior to studying the compositing course at Escape Studios, I worked as a 2D generalist across Italy and Spain. My job list included digital grading, motion graphics, film editing, DIT and, of course, compositing. But it was all for 'small' projects - although I admit everything looks 'small' now after a few years working on blockbusters. After setting up my own studio in Italy, a friend of mine encouraged me to make the move to London, which was a growing hub of excitement for VFX artists at the time.
My journey as a compositor has seen me develop a worldly view of the VFX process, advancing from a base level 2D Artist, through to Compositor and ultimately to VFX Supervisor, I now use the skills gained from experience in every step of the VFX pipeline, to create cinematic worlds of truly sensational proportions.
What are you working on at the moment?
Since leaving Escape Studios, I have been working non-stop on feature films such as The Dark Knight Rises, Harry Potter and The Deathly Hollows, Pirates of The Caribbean: On Stranger Tides, John Carter, The Bourne Legacy, 127 Hours, and many others. I’ve had the opportunity to work with top studios such as Double Negative, Cinesite, Union VFX... Oh boy, I'm having fun - meeting so many talented people and learning a lot. It’s what I have always dreamed of doing!
My experience has led me to be one of the first officially-certified NUKE Masters at The Foundry, and I now get to share my love of comping with like-minded people by attending NUKE workshops, online courses and conferences. I hosted workshops at both the 2012/13 VFX Festivals and I have led a 2D Master Class at Pixar Animation Studios in San Francisco as well.
I have contributed to Nukepedia.com since its beginning, where I was recently voted as their second most important contributor. I have also been accepted as a member of the Visual Effects Society. In the future I see myself moving into a VFX Supervisor’s role but I am staying open-minded to what may lay ahead.
What is your advice for those considering entering the industry?
Shoot yourself. I mean, grab a camera and start filming something—anything! Just get a feel for the camera, and you’ll start to understand how lenses work, and the difference between seeing and filming something. For a compositor, a solid knowledge of photography and cinematography is far more important than just being able to use Photoshop. Try mixing your images in a photorealistic way; you will encounter limitations and problems, but don’t give up: you will start to find your own solutions.