The VFX Factor: Why So Much of VFX Is Smoke and Mirrors with Ben Watts and Justin Puda

Ben Watts and Justin Puda are creative directors and partners of Rocket Lab, a creative collective represented by multidisciplinary production studio WORKPRODUCT.

They specialise in high-quality visual effects for film, television, and advertising. Their team of skilled artists and producers is driven by a passion for storytelling and a dedication to pushing the boundaries of what’s possible with technology. From design-focused VFX to live-action production, Rocket Lab is optimised to bring creative ideas to life in any shape or form. They believe in the power of collaboration and creativity and work closely with clients to understand their vision and bring it to life using the latest tools and techniques. 

LBB> What’s the biggest misconception people have about VFX?

Justin> I think one of the biggest misconceptions people have about VFX is that it’s all perfect when in reality, so much of VFX is smoke and mirrors. As a young artist coming up in the VFX industry, I’d see other studios' work and think, “Wow, it’s insane how they can achieve that; it’s so physically accurate and perfect.” Then, as I gained more knowledge and experience, I saw that a lot of VFX work is achieved by just making it “look” right and not necessarily being a physically accurate creation. Personally, I love seeing the BTS work of studios where they show the things that are completely broken within a shot and seeing nuances that are hidden from the camera. 

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?

Justin> Both definitely have their own challenges and in different yet similar ways. With any VFX shots these days, audiences don’t want to be able to “see” the VFX. The trick with invisible effects is not knowing they were ever there. That can be a tough task, as it relies heavily on the live-action footage provided upfront to achieve these effects. With the larger VFX-heavy sequences, every detail must be dialled in so shots look realistic and believable. 

LBB> As a VFX person, what should directors be aware of to make sure you do the best possible job for them?

Justin> One of the best things directors can be aware of is that we are here to collaborate with them. Some of our best work comes from projects where the director has a vision but also wants to use the knowledge and skills that our VFX team can bring to the table. We’re all artists, and we all want to make awesome work together; when a director can recognise that we’re not just tools to create FX, but can also be collaborators in the development of the creative process, some really great sequences can be created as a team.

LBB> VFX is a true craft in the classic sense of the word. Where did you learn your craft?

Justin> I learned over years of working at various studios, constantly learning from amazing artists who were willing to share their experiences with the young kids coming up in the industry. Our industry is incredibly inclusive, and most of us senior artists love to help younger artists grow their skills and understand how to navigate the industry. 

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?

Justin> We start our projects by looking at each sequence and breaking them down into what FX will be needed. Oftentimes, we’ll explore a variety of approaches to achieve the end result, and from there, we’ll discuss the most efficient pipeline to achieve them with our team. With any FX shot, the key for us is maintaining high flexibility and the ability to art direct, enabling quick revisions.

Ben> I agree with Justin. All of our projects begin with our base Houdini file. It contains some in-house tools and assets that give our artists a head start when it comes to organising and preparing for FX shots. 

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?

Ben> I rarely get to the end of a client job and feel it's 100% finished. Ultimately, you're governed by the project schedule and/or the producer's communication; they're keeping tabs on due dates, etc. Time constraints often play a significant role in determining when a project is considered 'finished' in the world of VFX.

LBB> Is there a piece of technology or software that's particularly exciting you in VFX? Why?

Justin> Houdini! Houdini is our favourite software to use @ Rocket Lab, and honestly, we try to use it exclusively when possible. It’s such a powerful tool that allows us to create FX that wouldn’t be possible with other packages.  

LBB> And as real time tech and games engines become ever faster and more sophisticated, how do you see that shaping or changing the role of VFX and its place in the production pipeline (e.g. thinking about things like virtual production)?

Ben> There's already a significant shift happening in how many facilities are incorporating game engines into their VFX workflows. Take environment building, for instance; the real-time tools available are incredibly powerful in this regard. I believe it's only a matter of time before we start applying these tools to more traditional aspects of FX work, like simulation and motion design, using platforms like Unreal Engine. 

LBB> VFX is a craft that relies on you really looking at nature - how light works, how gravity works, the mannerisms of a kind of creature, how crowds work, skeletons, explosions… whether its animation or compositing or anything else… So how do you like to approach the research side of your job? What’s the most random or intriguing thing you’ve learned from working on a project?

Justin> Well, for me it's all about diving deep into the natural world. VFX is a craft that demands a close study of how things like light, gravity, creature behaviour, crowd dynamics, skeletons, and explosions work in the real world. Whether it's animation, compositing, or any other aspect of VFX, we always start by looking at real-world references.

Coming from a photography background, I was always fascinated by how light and lenses play a role in composition. Recently, in our short film "Oceani," I drew inspiration from my experiences diving along the Pacific Coast of California and my involvement in the marine biology community with my wife. These experiences helped us shape the underwater world we created, along with how we designed the final character in the film.  

LBB> When you’re watching a VFX-heavy ad or movie, what are the tells that you look for to figure out how well crafted it is?  

Ben> I look at how effectively the special effects are integrated into the shots. This involves compositing, lighting, materials, and grading. Does the VFX seamlessly blend with the surrounding elements in the shot? Is the animation to convey a sense of realism? Did the film consider factors like weight, timing, and scale in their shots, ensuring they harmonise with the live-action elements in the scene? If any of these elements are even slightly off, it can have a profound impact on the overall perception of the shot, making it feel disjointed or unrealistic.

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?

Ben> I entered the industry through a transition from being a motion designer. I spent several years in motion design and was pretty content with 2D work. However, something about the world of 3D really piqued my interest, so I decided to dive into learning essential skills like modelling, texturing, and lighting. My very first job in the 3D industry was on a TV commercial project. It was quite an adventure as I had to travel a solid 10 hours away from my home and work in-house at a studio for a whole month. I got a firsthand taste of what it takes to create a 30-second CG spot, which was a great learning experience. 

LBB> What was your first creative milestone in the industry – the project you worked on that you were super proud of?

Ben> In 2016, I was hired by a studio as a freelance FX artist for several months to work on a series of Nike commercials. This was an exciting time in my career for a number of reasons. We were tasked with some extremely challenging FX shots that really pushed our skills, and everyone involved was very collaborative, sharing knowledge, and the results really showed. In the world of client work, you don't always end up with a final product that you can be exceptionally proud of. However, in this particular project, we were extremely happy with the outcome. The Nike commercials we worked on turned out to be fantastic, and I was very proud of our work for the project.