Patrick Kelleher & His Cold Dead Hands "Wintertime's Doll"

Label : Osaka records

Director : Sophie Gateau

This video is just amazing

Website plans

In an effort to get more of an online presence I've started to look into websites and hosting. I think I'm going to go with Indexhibit, as I've seen it used alot and although it's simple, it gets the job done and is customizable and versatile, as I'm hoping to not only have moving image in my portfolio, but also sketches, graphic work, paintings, a page which links through to this blog and possibly my tumblr blog too.


Research etc.

After getting in touch with Chloe Hayward for the short essay we were given I got a really helpful response basically telling me how she started, what she did in her course at uni and how she landed her current job and about her day to day role. She currently works for Intro, a design company based in London, where she is a junior director, and works in partnership mostly with Julian Gibbs. She began there as an apprentice straight from leaving uni and has worked her way up since. Lots of the work featured on her blog is through side projects for friends which she does alongside her job at Intro. Through speaking to her it's really helped me to get a focus on what I actually want from this course and also given me some inspiration for side projects to build up my portfolio.


Compositor Job Role

Compositors work in most areas of animation and post production.
They are responsible for constructing the final image by combining layers of previously created material. Although it is primarily a 2D role within the 3D world of CGI and VFX (Visual Effects), Compositors need a thorough understanding of the CG process combined with relevant artistic skills.
In post production companies, some TDs (Technical Directors) may do their own compositing.
What is the job?
Compositors work at the end of the production process. They receive material from various sources which could include rendered computer animation, special effects, graphics, 2D animation, live action, static background plates, etc.
Their job is to creatively combine all the elements into the final image, ensuring that the established style of the project is respected and continuity is maintained.
To achieve this they enhance the lighting, match blacks and other colour levels, add grain where required, add motion blur (if appropriate), create convincing shadows and make sure levels combine together seamlessly, keying (see glossary), rotoscoping and creating mattes where necessary.
They work closely with Lighters and need to have technical knowledge of how 3D lighting works in order to understand the 'multi passes' that the lighters create. They also liaise closely with Render Wranglers to progress work through the department.
As this is the end of the production line, there can be occasions when it is necessary to work very long hours to catch up on a schedule. Compositors need to keep up to date with technological developments within their field.
Typical career routesCG Compositors are most likely to have entered the Compositing Department as Roto Artists and worked their way up. In other cases, people who have acquired an understanding of compositing in layers for 2D Animation, using programmes such as After Effects, Animo or Opus, may have the relevant experience.
There are several levels within the department; this job profile applies to a mid-level Compositor. With the appropriate talent and skills, Compositors can become Sequence Heads, Senior Compositors or Compositing Supervisors; the best Compositors can aim to become VFX Supervisors.
Essential knowledge and skills Compositors need the talent to make artistic judgements, the technical skills to take practical decisions and the ability to analyse and solve problems.
Key Skills include:
  • extensive knowledge of current compositing software such as Shake and After Effects;
  • knowledge of various other programmes including Photoshop;
  • understanding of 3D animation process, particularly Lighting;
  • a good eye for composition, colour, light and shadow;
  • good knowledge of keying process;
  • methodical and thorough approach to work, and attention to detail;
  • ability to communicate with colleagues and work as part of a team;
  • ability to take direction and willingness to address comments and make changes;
  • ability to work with a minimum of supervision;
  • ability to deliver on schedule, working under pressure if required;
  • respect for the procedures and requirements of a particular studio, production or pipeline;
  • Knowledge of the requirements of the relevant Health and Safety legislation and procedures
Training and qualifications
Compositors are likely to have gained a degree in an art-related subject, such as Animation, Design, Illustration, Painting, Drawing, Photography or Computer Animation.
However, by this level, a minimum of two years professional experience; showreels demonstrating artistic talent and technical skill; and good references are likely to be of more value than academic qualifications.
Whether they have received formal training or worked their way up, Compositors need a thorough knowledge of the relevant software currently in use by the industry. Depending on the production, this is most likely to be Shake or After Effects, but could also be Combustion or, possibly Inferno or Flame.
For people moving into Compositing from other departments, there are several Shake courses available and this training would probably be a basic requirement.

from Skillset

important sites

The trade body for Post Production

The trade union represents Post Production personnel

Digital Post Production - website dedicated to news in post production.

Lists what skills are needed for each job


I'm going to use this blog exclusively for uni work related things, written work, film write ups, videos relative to what I'm currently working on. I'm going to use tumblr for images, music videos, whatever doesn't seem to flow on here.

click here to go.



Visual Effects Supervisor
What does a visual effects supervisor's job involve?
Visual effects encompass everything in a film that cannot be captured on a single piece of film in the camera. It often falls under the umbrella of special effects. But technically special effects concerns live sequences that take place on a film set such as animatronics, pyrotechnics or wire-work.
Visual effects involve everything that is created as more than one element but will finally be put together in a digital environment. It often involves compositing together computer generated effects with live sequences that are filmed using blue/green screen techniques or miniatures.
A visual effects supervisor will usually be called onto a film during pre-production. I'll need to talk to the director and the production designer as concept art is being created and as a story board artist is laying out a movie so we can discuss the scope of what is needed and what effects we can do.
For example, they might want to shoot a scene in a studio of a set piece 15 stories high. But their studio might only be 30ft high and can only fit in a set a few stories high. In order to extend it, I need to know the exact dimensions of the set, and how the camera has moved around it, how it is lit, and what it is constructed of so I can fit the computer generated version on top.
I recently supervised the visual effects for the big budget film Sahara. My biggest sequence was of a solar energy plant in the middle of the desert which, of course, doesn't exist in real life. Little pieces of it were built in the desert so we could shoot close shots with no visual effects enhancement or extension. But the wider shots needed substantial visual effects extensions. My visual effects team and I went to Morocco with the main filming units to see make sure that wide shots were covered in a way that allowed us to extend them, and to take reference footage, stills and measurements.
Back in London, the background shots filmed in the desert were digitized by the post-production visual effects company, Cinesite, and the solar plant that we had designed and built digitally was animated and composted into the shots.
How would you recommend getting into the business?
A lot of people start as assistants at visual effects and post-production companies. They are very good places for getting the basic knowledge of the techniques. There really is no better way to learn than on the job.
It's a good time to get into the business. There is a huge market at the moment as more and more films are being made using digital techniques. In fact, there is more work at the moment than there are artists.
To get into the business, you need a good basic knowledge of camera equipment and techniques, film lab processes, compositing techniques and software. You need a good visual sense and a creative approach to telling a story. The rest is just experience.



Who made this head dress?

Does anyone know who designed/created the headdress in the video for Totally Enormous Extinct Dinosaurs - Household Goods? Curiosity is seriously killing me on this and weekly googles are coming up with nothing. If I ever do discover who designed it I might buy one with happiness. Seriously though how could you create something that detailed with tin-foil?

[edit: Fred Butler]

Happy New Year

Just an update about what I've been doing over Christmas.

1. Watching more films
Made a bit more of a concious effort to watch films. I always say "Oh I really want to see that" then never do so off the top of my head I've watched... Scott Pilgrim Vs The World, Inception, The Beach, Catch Me If You Can (Leonardo DiCaprio is my new favourite actor I've seriously binged on that guy - every film is good) Atonement, Ferris Bueller's Day Off, E.T (fave film as a kid ever), The Other Guys, Toy Story 1&2, The Grinch, Love and other drugs (actually went to the cinema for that and it was the worst waste of £7.90 I've ever spent in my entire life) and I can't think what else, but yeah - more films. I'm also starting to notice stuff when I'm watching I always think 'what kind of arsey perfectionist actually notices little inconsistencies' I am now one of them.. how crap.

2. Spending too much money
I have no christmas money left but I've got some bruises from NYE and some new threads. It's all good.

3. Made loads of lists
Which is what's prompted me to do this, I've got a big to do list for when I get back to uni, starting with sorting my passport so I can do something out of the country cause I can't remember when I last went away.

4. Took photos
Got a decent camera and finally making use of it by taking it out and about with me. Not took anything I particularly want to show to the world yet but when I do it might work it's way on here.

5. Felt a bit creative
I keep getting the urge to draw/paint/do something. I've had photoshop open for a good couple of hours most days just getting into the swing of it again, I used to have so many ideas with it I'd crash my laptop, dunno what's happened but I'm not as inspired as I used to be :( Unfortunately left all my paints in Notts but been drawing more since I've been home (I think its partially down to actually being able to feel my fingers) I've also been looking more at different ways of using my creativity in moving image and started to crack on with my essay, which is another reason why I'm making this list.

6. Made a resolution to procrastinate less...