The VFX Factor: Why VFX Is Like a Slow Cooked Stew with John Kim
John Kim is the founding partner of the multidisciplinary production company WORKPRODUCT.
Across his accomplished career as a VFX supervisor and creative director, he’s developed campaigns for renowned automotive brands such as Toyota, Mazda, Kia, and Lexus.
John’s personal passion for all things cars led him to create the niche creative studio Ride View (represented by WORKPRODUCT), which develops photo-real CGI and real-time content for the Automotive industry.
LBB> What’s the biggest misconception people have about VFX?
John> One of the most prevalent misconceptions about VFX is the expectation of instant gratification.
VFX is less like a microwave dinner and more like a slow-cooked stew. It involves extensive planning and the dedicated efforts of skilled artists who work their movie magic. VFX is far from being a quick process; rather, it's a collaborative effort that demands time and patience. However, the end results are like savouring a well-prepared stew – truly worth the wait.
LBB> There are two ends to the VFX spectrum - the invisible post and the big, glossy 'VFX' shots. What are the challenges that come with each of those?
John> Within the world of visual effects, there exist two distinct ends of the spectrum: the 'invisible post' and the VFX-heavy shots.
In the world of 'invisible post,' the primary objective is seamlessly integrating VFX elements into live-action footage. This task requires attention to detail, a high commitment to maintaining visual consistency, and a surgical matching of the camera movements. It's like a secret spy mission.
Then, in the world of 'VFX Heavy' shots, the goal is to create realism on a massive scale. Such shots often involve intricate simulations, juggling of budgets, and some serious technical wizardry. Regardless of the sides, I’d say both serve to bring cinematic goals to life.
LBB> As a VFX person, what should directors be aware of to make sure you do the best possible job for them?
John> First and foremost, engage the VFX team early in the project's development, allowing them to prepare the set better and plan their work effectively. This early engagement establishes a strong foundation to integrate VFX into storytelling.
Budget allocation is also crucial. And lastly, it's essential to acknowledge that VFX is a craft that demands time and attention to detail. When the VFX team is transparently integrated into the production, it helps elevate the overall quality of the production, enhancing the audience's immersive experience, not overshadowing or underplaying the fundamental creative.
LBB> VFX is a true craft in the classic sense of the word. Where did you learn your craft?
John> When I started out, online learning was at its beginning stage, so most of my learning came from experiences through paid/personal projects and simply interacting with cool, smart people. These days, we have an ocean of knowledge online, but that does not undermine the value of learning on the job and networking.
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?
John> The journey begins with concepts and planning driven by the creative’s vision. This includes script analysis, budget allocation, and timeline at this stage. A VFX supervisor is appointed to oversee technical executions. To give shape to our ideas, we employ concept art and storyboards, which serve as visual aids for our desired outcomes. Then, a team is assembled to address the technical challenges that lie ahead, along with any considerations needed for on-set production. During production, references are captured, and data management is very important.
As we move into the post-production phase, the focus shifts to VFX creation, integration, quality control, and final approval. While the steps may vary, this universal process ensures alignment of creative vision and technical execution for successful content.
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?
John> Determining a VFX project’s results is similar to the process of baking cookies, where the goal is to achieve that perfect balance of a golden and delicious outcome that aligns with your creative objectives. However, much like baking, there are considerations to keep in mind to avoid certain pitfalls. You have to ‘set a timer’ to establish clear project milestones and deadlines. It's essential to monitor progress diligently, just as you would keep an eye on those cookies in the oven.
Timing is everything; it helps ensure that your project stays on track and doesn't overextend itself. Just remember, it's crucial not to 'burn' your project (miss your deadlines).
On the other hand, undercooked cookies represent a compromise on quality. Rushing through the process or cutting corners can result in a subpar outcome, so it's key to strike a balance between meeting deadlines and delivering quality work.
LBB> Is there a piece of technology or software that’s particularly exciting you in VFX? Why?
John> Every real-time engine has gotten my attention these days. The sheer speed of the thing allows me to explore creativity in real time is simply captivating. This allowed me to explore creative options together with our clients in seamless, collaborative ways.
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)?
John> The rapid advancement of real-time technology and game engines is reshaping the landscape of visual effects. It allows us to conjure up stunning visuals on the spot, making production a breeze. But it doesn't stop there.
Additionally, virtual production represents a paradigm shift where VFX seamlessly integrates with live-action elements on set. It serves as a gateway to interactive storytelling, exceeding the limitations of past VR/AR experiences. Unlike past methods, where VFX was primarily employed to add or rectify elements after shooting, today's VFX artists can now be at the heart of the production.
LBB> VFX is a craft that relies on you looking at nature - how light works, gravity works, the mannerisms of a kind of creature, how crowds work, skeletons, explosions… whether it 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?
John> I love the research side of the job! I enjoy the constant exploration of nature in person, digging into historical documentaries, science, and more. AS VFX artists, we have to dive into bits of everything to convey logic and realism to what we work on.
One notable random fact I've learned from a job would be working on the Mr. Potato Head toy, a beloved childhood staple. This was originally crafted from actual potatoes in 1952 until it transitioned to plastic in 1964. It's a random example, but it reflects how our work in VFX often leads us to discover unexpected and interesting nuggets of information along the way.
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?
John> There are a few things you can keep an eye on to see if it's done well. Firstly, we must see how seamlessly they fit in with the regular shots. Do they look like they belong there? It is important that lighting, shadows, and movement seem natural. Also, there is little attention to detail and integration of reflections that match the surroundings. Good VFX makes the story more enticing and gives the right feel.
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?
John> My first foot into the industry was an internship at a trailer studio in Los Angeles. They were dealing with multitudes of Marvel releases at that time, and I was privileged to be working on one of the key shots. One piece of advice I got from a senior artist at the time that still remains with me was: “It’s all about problem-solving no matter the tool.”
LBB> What was your first creative milestone in the industry – the project you worked on that you were super proud of?
John> My initial creative milestone in the industry that I'm particularly proud of was crafting a two-minute short film for an automotive client. While I can't share it publicly due to its conceptual nature, it was a special experience to be able to be involved. I collaborated closely with the client to conceptualise and produce the entire cinematics, using Unreal Engine to bring our vision to life.
LBB> From a VFX perspective, which ads have you seen recently that you’ve been particularly fond of and why?
John> I recently enjoyed Black Rifle Coffee Company's 'Recoil Reloaded.' The VFX seamlessly integrated with the narrative, especially during the impressive car stunts and explosions.
