MY ROLE

Effects sequence Supe at Double Negative London

Being a sequence FX supe on Godzilla was a very interesting and challenging position. I got to do many of the shots myself and build many of the tools, in parallel with managing a team of twelve people.

I did a lot of destruction and atmospherics on multiple sequences of this show, from destroying airplanes, to trailing fires and explosions, to destroying bridges, gantries and cranes, and many of the hokmuto hatching shots, which contained loads of destruction, steamy environments and lightning ripping through the steam.

I was the sequence FX supe on the hokmuto hatching sequence, which was technically very challenging, we were dealing with huge super high resolution volumes and geometries, that we needed to either cut and simulate in the case of the geometries or to interact with and render in the case of the volumes, and we had a lot of metal structures and cables that we needed to destroy and mangle. So I had built many procedural tools and rigs, to help us with all of the above, that would prove invaluable when we needed to roll shots out quickly and efficiently.

On the managing side of things I did a lot of skills management, so I spent time to try and understand the potentials and aspirations of the people on my team, deployed them where they would fit most, helped them technically when necessary, and obviously provided them with the necessary tools, rigs and setups, that have been built either by me personally or by other team members.

I had to work very closely with the modeling, layout, lighting and comp teams, to make sure everything was running as smoothly as possible and that everyone was getting the necessary data when they needed it. Working with production was a very big part as well, timing different tasks and shuffling things to try and keep everything running on time.

We did a lot of long nights and week ends, it was tiresome, but it was a great opportunity for me to work with such an amazing team, I am glad I was a part of it!

TRAILERS

San Diego Comic-Con