3D Animation & Visual Effectsgrad Jelmer Boskmahas been profiled by Softimage, makers of XSI. Jelmer goes into great detail about his time at VFS as well as his career so far, working on such films as Journey to the Center of the Earth and Watchmen. It’s a great read, so check it out!
Have you RSVP’d for the upcoming VFS Open House yet?
This Wednesday, July 23 event is a one-of-a-kind opportunity to get a first-hand look at all 13 programs at VFS, meet their Heads of Department and senior faculty, and see award-winning student work.
You’ll also have the chance to meet students and grads, including some we’ve profiled on this very blog - Nicky Forsman and Tihemme Gagnon are but two examples!
VFS Open House
Wednesday, July 23, 2008
6pm – 8pm
VFS Café
390 West Hastings Street
To register for this Open House, email openhouse@vfs.com or call 604.631.3590.
Daniel’s role as Lead Model Maker on Stargate Atlantis puts him in contention for Outstanding Special Visual Effects for a Series. He was nominated for the same award in 2005 and 2006 for Battlestar Galactica (fellow VFS grad Alec McClymont took home an Emmy in 2007, also for BSG).
A number of VFS grads worked on the Sci Fi miniseries Tin Man - also up for a slew of awards. And two VFS Advisory Board Members - Digital Design’s Matthew Mulder (The Company) and Sound Design’s Paul Sharpe (Tin Man) - are also nominated.
You can peruse the complete list of nominees here.
Karen J. Lloyd knows a thing or two about being a Storyboard Artist - but best of all, she wants you to know, too.
The Classical Animation grad - and former VFS instructor - has been storyboarding animation for 11 years, a specialization that, as she emphasizes, is as much about communication as anything else. And that ability to communicate - and the drive to give back to “the younglings” - led her to create storyboardblog.com, which she maintains along with “live-action guy” Adrien Van Viersen.
It’s a practical, honest, and often hilarious look inside the animation industry and how it works, whether it’s the must-read breakdown of the importance of professionalism in animation or handy storyboard templates or the value of training for an aspiring Storyboard Artist. It’s not to be missed for anyone even thinking of joining the industry.
We wanted to go directly to the source and find out from Karen - who’s worked on everything from Rugrats to Studio B’s Kid vs Kat - what’s behind the ‘boards.
As someone who’s trained in Classical Animation, what do you like about being a storyboard artist?
Nothing. Next question. Alright, alright, I’m kidding - I do that… It keeps me sane.
Oddly enough for me, it’s not the drawing part. I like telling stories visually and the drawings are just a means to that end. I love the challenge of working through a script that may not be the strongest and finding ways to ‘fix’ it. To make something that may read awkward work in the visual medium. I really enjoy making the characters come alive and act. I’ve done acting myself so that’s probably why it comes naturally to me.
I enjoy ‘playing director’ and being in control - for the most part - of how the cartoon will turn out. And I love freelancing and pretty much being my own boss. I do my thing, hand it in on time, and everyone leaves me alone. You have to earn that, but it’s great.
Luis Blackaller already had a foot in the film industry - including a stint as a designer on the acclaimed 2000 film Amores Perros - before he even started 3D Animation & Visual Effects at VFS.
He’s also just finished two years at MIT - yes, that MIT - where he had a hand in projects with names like E15, oGFx, and Tiny Icon Factory.
It’s not exactly a typical career trajectory, so we caught up with Luis - just as he was finishing his thesis - to find out how on earth he got from A to B, or from VFS to MIT.
Maybe we can start with a little background. Where are you from? How and why did you land at VFS?
I am an artist from Mexico City. I started working in the Mexican film and television industry as a storyboard artist, art director, and designer around 1995. Motion graphics got me interested in animation, and that’s how I decided to join VFS.
Your work in film: our readers will especially recognize Amores Perros and Babel. Can you explain how that came about and what you were doing on those productions?
I started working in production around 1994. When a few of my high school friends graduated from film school they invited me to work on their final projects. It all happened very organically, almost by chance. I was doing photography and learning how to make comics, so it made sense to do storyboards and still photography for them.
Working on film school projects helped me meet people in the Mexican film and television world. I started making storyboards commercially. At the same time, I bought my first Apple computer to color my comic books. It turned out my emerging Photoshop skills became attractive to the art department people, and some art directors started commissioning me to do concept art for their sets. This way I met Brigitte Broch in 1997, who holds an Oscar in set decoration for Moulin Rouge. She invited me to work in many interesting projects with her, Amores Perros and Babel amongst them.
I know this is a big question, but… What exactly is it that you’re up to at MIT?
The movie promises to be the summer’s perfect kid-friendly popcorn flick… especially since it’s playing in 3D in select IMAX theatres. Read about star Brendan Fraser’s feelings about the technology here.
The Dark Knight is descending from the rafters on July 18th, with graduate and Double Negative TD generalist Pietro Ponti representing VFS Animation & Visual Effectsin the credits. But there’s another connection, and it’s something a little different.
3D grad Kolby Jukes is a freelance character artist who, since graduating from VFS in 2004, has found a niche in the game and film industries - with a laundry list of clients that includes id, EA, Midway, and Frantic Films - while starting a growing online community for 3D artists called Tweak.
He’s also making a name for himself in collectibles.His work for DC Direct has meant modeling sought-after Batman and Joker statues, busts and the like for a fan base that can’t get enough. And that’s where The Dark Knight comes in.
Let’s talk Dark Knight. The pieces you did for DC Direct, especially on the Joker, are completely jaw-dropping. How did you get into that kind of work?
Early in 2007, an art director at DC Direct, Shawn Knapp, had seen some of my work online and got in contact with me about doing a series of half-scale busts. I eagerly accepted the contract, since I’ve always been a huge Batman fan, reading the comics and playing with the toys as a kid and watching the Bruce Timm/Paul Dini animated series religiously.
Just after finishing my first bust (a Jim Lee inspired Batman bust that was released in April of 2008), I was offered the chance to work on the Dark Knight film merchandise. I ended up sculpting the majority of the line, working on 6 pieces. It was a really great experience, and I’m really happy to have been involved in what looks to be an amazing film.
How is the approach to modeling for busts or statues - real, tangible things - different than for, say, animation?
Faithful blog readers will remember the amazing achievements of VFS graduates at last year’s Air Canada enRoute Student Film Festival — in which numerous VFS films were selected to screen on Air Canada flights, and several were up for (and won) major awards.
Well, it’s that time again! This summer’s enRoute selections include Filmgrad Jared Stepp’s The Last Planet, fellow Film graduate Terry Stone’s documentary Virtuoso, and Classical Animation grad Tammy Dubinsky’s Hold the Mustard. Congratulations to all 3 for being screened at 30,000 feet… and here are a few words with Jared, on this success for The Last Planet…
How does it feel to know your film is screening on flights across the country?
The short answer: Awesome.
I feel this is a great honour for the cast, crew, and I to get our hard work out there for people to see all across Canada. Our goal is to entertain and to do that on a national level is a great opportunity. If we can transport you to another time and place, and make you smile, I feel we have done our job.
Many Film Production films lean toward drama. What was the development process like for you, in writing - and pitching - this comedy?
I’ve always been a geek in general, and leaned towards Sci-Fi as a focus for my nerdy ways. I knew I wanted to make a film about those great serials of the 1940s, and how that genre is lost today. I thought more on it, not only the genre, but the actual actors and professionals who focused much of their careers and are unknown to most people. So I thought, I like that genre of film a lot, why not try to make an episode of a fictional 1940s serial? And touch on the themes of what happens when things age and become forgotten.
The pitch was a challenge. Like I said, this genre of film is unknown to most people. I had to convince a lot of people about the story, what I was trying to accomplish, and the tone of the piece. But with my strong vision and perseverance, I was chosen to make the movie and I feel I accomplished my goals.
What are you most proud of?
I am most proud of the look of the film. It was achieved by the hard work of my Director of Photography Sumeet Vats, and our wonderfully imaginitive art team of Devin Coppens and Kristine George. We researched and discussed things thoroughly to achieve a look similar to the actual serials of the 1940s. We also had a great help through the Digital Intermediate process at Technicolor.
That means we can finally report what 3D Animation & Visual Effects grad and Blizzard cinematic artist Alvaro Buendia was working on when he told us back in April, “I can say with confidence that all the stuff we are doing is definitely raising the bar.”
Alvaro’s handiwork, and that of fellow 3D grad Steven Chen, is apparently all over the gorgeous Diablo III teaser. See it for yourself:
Join us on July 23, 2008 to experience a behind-the-scenes look inside all 13 of Vancouver Film School’s programs: an unparalleled introduction to a one-year education in every dimension of film, TV, games, and design, all under one roof.
This evening is not to be missed.
At this unique VFS Open House you will:
- Hear about our 13 programs: 3D Animation & Visual Effects, Classical Animation, Digital Character Animation, Acting for Film & Television, Acting Essentials, Digital Design, Entertainment Business Management, Film Production, Game Design, Makeup Design for Film & Television, Sound Design for Visual Media, Writing for Film & Television, and Foundation Visual Art & Design
- Meet our award-winning leaders, including the producers, writers, sound designers, makeup artists, and execs behind Zoolander, Three’s Company, The Butterfly Effect, Whale Music, EA’s NHL video games, and countless others
- See amazing examples of student films, reels, and portfolios from all of our programs, including incredible never-before-seen work
Wednesday, July 23, 2008
6pm – 8pm VFS Café
390 West Hastings Street
To register for this Open House, email openhouse@vfs.com or call 604.631.3590.
Have you RSVP’d for the upcoming VFS Open House yet?
Karen J. Lloyd knows a thing or two about being a Storyboard Artist - but best of all, she wants you to know, too.
Luis Blackaller already had a foot in the film industry - including a stint as a designer on the acclaimed 2000 film Amores Perros - before he even started 
Seems every major blockbuster this summer has VFS grads involved — including today’s big release Journey to the Center of the Earth!![DC Direct 10-inch Joker Statue](http://www.vfs.com/blog/wp-content/uploads/2008/07/jukes_jokerstatue_final.jpg "DC Direct 10\")
Faithful blog readers will remember the amazing achievements of VFS graduates at 
A chance like this doesn’t come along every day.