How to become: visual effects designer
How to become: visual effects designer
Design Week: What is a visual effects artist?
David Sheldon Hicks: This is a new term. Although I have always been passionate about animation, I wanted to make graphic designers move. However, when I started training as a graphic artist, motion designer was not a term I had ever heard of. Although there were some graphic design houses that were animating animation, not many studios could do the same. They looked great but couldn't move well, or they looked terrible but were technically excellent animators.
The internet opened up new possibilities for telling stories, both with graphic design and screen-based work. This was also the democratization of the Mac which allowed people to create their own animations. This is what I do now. There's another level to technical delivery when working with film. Special effects must be part of the story. We create and design graphic interfaces for vehicle displays, technology screens and film holograms. We recently established a visual effects department in-house, which creates CG props and set extensions, as well as environments.
DW: What is your educational background?
DS-H: I completed A-Levels (in Maths, Physics and Art) in Maths, Physics, Art, and Photography. After that, I studied graphic design at University of Portsmouth.
DW: How has your career path been so far?
DS-H. In 2002, I was awarded a D&AD student prize and one of the prizes was a three-month internship at a Berlin graphic design studio. After that, I was hired by Peacock Design in London to create album covers and animations for music videos. I was looking to make the transition into film and I found a job posting that did not reveal much, but I knew it was for a film project. The job was to design the casino royale's computer screens and mobile phone graphics. James Bond was a great film industry experience. Looking back, I can see that my work wasn’t very good. That one was a bluff.
But I impressed them and I was able to move on to the Dark Knight film, where I learned my craft. Christopher Nolan gave me the brief to create a brutalist aesthetic. It was a turning point for me. The studio Fold 7 was where I produced commercial content for clients such as Nike and Orange. There I met my business partner and we founded Territory in 2010.
DW: Is the job creatively challenging?
DS-H: Hugely. How can we use mobile phones, computer screens and holograms to tell the story in the film? How can we make this interesting? It's all about trying to connect to people's lives. It's why movies show it all the time. But we don't want Batman texting or looking at a spreadsheet. So how can we make it entertaining? Another question is how do we make it real? Guardians of the Galaxy was created with a walking tree, and a talking cat.
DW: What are the wishes of clients?
DS-H. Some films are more realistic. Alex Garland, director of Ex Machina, wanted the technology to feel more real. Steven Spielberg was trying to make a statement on social media escapism with Ready Player One.
Because everyone loved the original Blade Runner, it was very difficult to make Blade Runner. There's also personal pressure when designing for a film that is based on an existing film but being adapted for the moment. Blade Runner was about challenging the creative process. We also did all of the medical screens like the DNA and pelvis bones checks, as well as the psychoanalytical tests. We also worked on K's spinner vehicle and LAPD office. It all had to feel analog -- the director used technology to make a statement about society. The mass population can't afford high-end technology, but the super-rich can.
DW: What is the best way to approach a project?
DS-H : Before you start designing, you have to take a step back and ask yourself: What material are we working with? Portsmouth taught me how to research the material. Black Mirror is about technology and how it impacts our lives. It's not about touch screens, but how it weaves into our lives. We begin to think about the material and then we look at the storytelling components. Then, we figure out where it fits in the film or TV series.
Also, we think about the medium used. How can you design for mobile audiences? While some may argue that the audience has become less sophisticated, I believe the contrary. Culture is constantly evolving and becoming more nuanced. Although it's more challenging to communicate to a wider audience, this is an exciting challenge.
DW: Recently, you've moved to creating visuals for real cars with clients like Land Rover and Volvo. How did this happen?
DS-H: Brands are attracted to our skillset. They don't care about the technical possibilities right now and only look ahead. They want to know if this is the near future or five, ten, and ten years in the future.
We created a series of films to explain the technologies in Land Rover's concept cars. On Volvo's concept cars, we looked at UX/UI. Details like production design are important, but so is abstract ideas. We see the environment from a wider perspective, or consider how cities and countries relate to automotive. It's no longer about the car; it's about you and your travels, even if your commute is just a time where you sleep.
DW: What makes that work different?
DS-H : Future gazing is the theme that links our film and our automotive work. It's our question of "what if?" What happens if there is no car or driver? How does a dashboard look? What would the interface look like if AI is fully integrated? Is it necessary to have a visual display? It's all about working with the past and anticipating changes. Visual communication will always be necessary, I believe. It would be terrible to hear an audio map. Visualizing a map is far more effective.
There are many similarities. Both are concerned with how technology connects to the masses. My mother and my daughter need to be able to understand the situation. When we work with brands, the difference is that we want a positive view of the world. They also need to be functional. Every element must be considered and how it will impact the future. It is also important to take into account the past expectations of driving. You cannot just discard the UX, speedometer or warning lights. You have to use them.
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DW: What are your strengths as a visual effects designer/artist?
DS-H. Film requires beautiful imagery and a large frame to convey the beauty of your images. You need to be able to produce beautiful shots when you work on films such as Blade Runner. Roger Deacon is the director of photography.
DW: What are your favorite parts about your job?
DS-H: Seeing your work in a larger context of film production. Bladerunner and The Avengers are available to our employees -- it's not often that designers get this privilege. Working with smart people is a great way to learn. Regular conference calls with pre-production film directors -- they are able to connect with audiences and tread somewhere between entertainment and art.
DW: What is the worst part of your job?
DS-H: Expectation. You must be able turn around work quickly under tremendous pressure.
DW: What would you look for in a junior visual effects designer?
DS-H: They must be able to understand graphic design and have good taste. They would need to enjoy film and work in their chosen field of interest. It is challenging, but we want people who care. We want everyone to be like us. It's just a desire to learn. Sometimes, it can feel like you just want to learn. But it's rare for people who are determined and willing to push the limits.
DW: What advice would you give to people who are considering a career in visual effects?
DS-H - You must be able to adapt and develop as the industry changes constantly. The skills you acquire might not match your final destination. It is possible to change your path a lot so you will need the ability to learn new things.
Social media is essential. It is important to be aware of the trends and how they will impact design. AR (augmented reality), the movement away from owning objects, higher value for experiences and connection with the outside world -- all these factors affect how we do our jobs.
DW: What's the job market for visual effects designers?
DS-H : The good news is that people continue to watch content on TV and their mobile phones: a lot of content being consumed. Netflix was fast to the scene and it would seem that every FTSE 100 company wants a TV channel. It is important to continue providing premium content. The UK has a lot of great content. Most Marvel films were made in the UK. The UK's industry is well-respected for its intelligent design and beautifully-crafted work. Here, we don't compromise.
Similar to the automotive industry, many people are aware of these challenges, but they're still challenges that must be overcome. Because of the UK's design reputation, we are well-positioned to export these services to other automotive brands. Although it is future-gazing, it's not far off. It's in the near future.
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