Framestore - New York
Tue, 12 Jul 2022 07:52:39 GMT
Nims Bun claims over a decade and a half of experience as a character rigging artist. Prior to joining Framestore, he spent time at Pixomondo, Amazon Studios, Method Studios, Industrial Lights & Magic, and Sony Pictures Imageworks. His credits include 3D artistry on films such as Star Wars VIII: The Last Jedi, Black Panther, and Minions, as well as the X-Men spinoff, The New Mutants. He has also worked on a long list of games, including New World and Crucible from Amazon Game Studios.
When he’s not creating characters, he moonlights as a fashion photographer, with work once published in Vogue Italia.
Nims> Visual Effects are at their best when the audience isn’t aware of them. Even heavy VFX shots need to be credible; the lights, the weight, the material or the dynamic movement. Sometimes the invisible post is the most challenging because you don’t have any room for error or the sense of VFX behind the shot. In either case, VFX should never take over the story being told.
Nims> The less required in post production, the easier and more cost effective it is for the project. Directors need to prepare as much as possible before being on set. For example, replacing a prop digitally instead of having the real thing during the shoot will obviously impact the budget (the same can be said for lighting, good acting, voice, etc.)
Nims> I studied Animation and Visual Effect at George Melies School in Orly (France).
Nims> It always starts with a pitch, some reference images, then a story, followed by a storyboard then an animatic.
Nims> There is always a point where you have to wind up a project based on time spent and keeping within budget. It can be frustrating because sometimes you think you could have done more, But we are lucky at Framestore to have strong producers who keep us on schedule.
Nims> Recently I've been playing with Topaz Gigapixel AI and MidJourney. If you think about movies in which a hacker or government agent takes a low resolution picture and cleans it up to be crystal clear using some super software in order to recognise the person in the picture, it’s similar to that. I used to think that kind of technology was impossible, but it is now with Gigapixel AI – crazy to look at how far we’ve come. You can even batch image sequences and restore a whole movie the same way.
MidJourney is another amazing new tool where you insert words and it generates images and variations. It’s mind blowing. I’m sure there will be a use for both tools in the VFX pipeline in the near future.
Nims> I’ve been hired twice during Covid, and in both cases the companies did a truly remarkable job at communicating and helping me settle. I never lacked anything and I’ve been working at home the same as if I was in the office, minus the traffic commute. I’ve been able to handle my schedule in a better way to suit my family needs and myself. I sometimes miss having a co-worker next to me to share work with in real time (it can help to have a real person next to you when you first start out).
Nims> I wish to keep the flexibility I have right now, working from home and sometimes going to the office when we feel like it.
Nims> I interviewed to be an animator with a company called Def2Shoot in Paris – I showed them a short animation I did and was hired the week after. I hadn’t yet graduated from school as I was in my last year and we were doing our student movies. I couldn’t let my teammates down so I was able to delay the start of the job by a few weeks. That was a very risky move because the whole purpose of doing the school was to find a job.
Nims> I worked on The Lorax, which was the first time I saw my name in the credits at a theatre. I was really proud of myself at that time. But my proudest moment is when I get to tell people I worked on Star Wars: The Last Jedi (Episode VIII).
Nims> Not really recent, but Canal+ 'The Bear' by BETC Paris is one of my favourite ads from a VFX perspective. It is all about the 'cinema'. Everything is on point! We know it’s a 'bear carpet' but it works so beautifully that we don’t see the VFX but the story of the ads.view more - PeopleFramestore - New York, Tue, 12 Jul 2022 07:52:39 GMT