The VFX Factor: Mike Stolz’s ‘Mis en Place’ Ethos
Mike Stolz is a seasoned flame artist and creative director specialising in beauty and fashion. After graduating from Parsons School of Design in New York, Mike began his career in illustration, producing editorial works for the New York Times and others.
His passion for design and love of computers led him to digital animation. Eventually, he became the head of the graphics department at Bloomberg Television and an instructor at Parsons, teaching 3D animation in Maya. He then started compositing in flame and later became a founding partner of the design house Manic, where he worked closely with brands such as Mercedes Benz, Loreal, Coca-Cola, and many more.
For the last decade or so, Mike has been leading the visual effects team at Consulate, collaborating with the best creatives and directors in the business for the finest brands in beauty, fashion, and luxury. With over 25 years of experience in high-end compositing and effects, Mike and his team bring the highest level of taste and professionalism to every job.
LBB> There are two ends to the VFX spectrum - the invisible post and the big, glossy 'VFX heavy' shots. What are the challenges that come with each of those?
Mike> The big, flashy shots are always fun to work on, but I find the biggest challenge is to maintain the artistry while satisfying everyone with an aesthetic interest: the editor, director, client, etc. I sometimes prefer the invisible work. I love to create significant change and solve problems while keeping the original beauty and integrity of the film so nobody even knows I was there.
LBB> As a VFX person, what should directors be aware of to make sure you do the best possible job for them?
Mike> I love it when directors call me before they shoot. I’m happy to discuss potential workflow for shots that include visual effects. Very often, those discussions end up saving both of us time and making a better product for the client.
LBB> VFX is a true craft in the classic sense of the word. Where did you learn your craft?
Mike> Well, I’m still learning, but I went to Parsons, where I studied illustration. I think an education in the traditional arts is a fantastic way to begin a career in digital artistry. It gives you a solid foundation in the essential elements of design, composition, and colour. I later became interested in 3D modelling and animation, so it was a natural progression to incorporate all those skills in compositing and effects.
LBB> Think about the very, very start of a project. What is your process for that? Do you have a similar starting point for all projects?
Mike> I love to cook, and I find that starting a VFX job is not so different. “Mis en place” is so important for both. You need to have all the elements in place before you begin. And for VFX, that also means a solid understanding of every hope and expectation from everyone involved and a plan to deliver the job on time and on budget.
LBB> We imagine that one of the trickiest things with VFX is, time issues aside, deciding when a project is finished! How do you navigate that?
Mike> Simple - it never is. I can’t remember ever having done a shot that I couldn’t make even better if I’d had more time. But that’s the job! You have to make it great within the parameters of time and budget available.
LBB> Is there a piece of technology or software that's particularly exciting you in VFX? Why?
Mike> Obviously, the emergence of AI is very exciting. I can’t wait to see how it changes the way we work. One thing I love about my job is that it's always changing. You always have to be learning in order to keep up with technology.
LBB> Are there any lessons you've learned / experiences that you've had from working during Covid that you'll be looking to keep with you once things hopefully get back to some form of normality?
Mike> I think we’re already working in the new “normal.” A hybrid situation is rather ideal for me. I feel very fortunate that I’m able to work remotely and maintain a physical studio space for occasional face-to-face collaboration with my team and clients.
LBB> How did you first get into the industry? What was your very first job in the industry and what were the biggest lessons that you learned at that time?
Mike> After art school, I landed a position at the then-fledgling Bloomberg Television. My very first task was physically painting a green screen for a composite shot. Working there was great because it gave me access to the very latest technology and software. Eventually, I was in charge of the animation department. Starting at the bottom gave me a great overall understanding of the entire process.
LBB> What was your first creative milestone in the industry – the project you worked on that you were super proud of?
Mike> Very early in my career, I was tasked with creating a 3D animation that was shown on a giant display in Times Square. I even got to show it to my mom while she was visiting NYC for the holidays. That was neat.
LBB> From a VFX perspective, which ads have you seen recently that you've been particularly fond of and why?
Mike> I love the new “Like a Good Neighbaaa” ad for State Farm Insurance with Arnold Schwarzenegger. It’s clever and funny, and the visual effects are so well integrated in working to support the joke. I’m also fascinated with the moving images we are starting to see coming from openAI tools like SORA and even gaming engines like Reality Engine.
While it has a long way to go, I think that the pace at which this technology will improve will be staggering. Soon, we’ll be getting elements sourced from AI and asked to alter them in the way we’ve been treating film and CGI for years.
