![]() ![]() What’s a typical day like in your position? What do you find unique and exciting in your work? Physical Model, Terragen Rendering, Final Shot Himalayan Environments Created in Terragen for Missing Link Physical Model and Resulting Terragen Rendering My role is generally more creative in nature but I have a solid technical background and exert a strong practical hand in production as well. I am now the Senior VFX Designer where it’s my primary responsible to interpret ideas communicated by the director and other key creatives of a show into key art, production ready assets, environments, or matte paintings. Over the years and through our now 5 production cycles I’ve done everything from shot lighting and texturing to matte painting and full 3D set extensions which leads me to where I am today. ![]() I started doing more and more texture work and took on any matte painting and set extension work that I could get my hands on. With the group being so small in the early days we were all wearing many hats and having a blast exploring and learning from one another. This group was ultimately the foundation of what is now the VFX department at LAIKA. It was an artists dream to have that kind of freedom to explore and push boundaries. We were a digital design group that would do everything from working with directors in development on helping them realize their visions to developing our own content all while infusing the latest technology and exploring less mainstream approaches to visuals. I was then asked to be part of a very small creative collective where we were the bridge between development and production. The film in pre-production when I was hired went through several directors and production designers trying to find its voice but never ended up becoming a reality. I was hired as a Lighting Artist for LAIKA’s CG feature film division. There was a Stop Motion division, CG feature division and a commercial division. When I first joined LAIKA the studio had three divisions. ![]() Joe Beckley, Senior VFX Designer at LAIKA Once we wrapped on “The Ant Bully” I freelanced for a few studios doing everything from 3D lighting and texturing to matte painting painting and illustration before taking a job at LAIKA in Portland, OR in 2006. I did mostly shot lighting and some light compositing for the remainder of my time there. I was hired to do some matte painting and 2D work but shortly after I was hired an opportunity within the lighting department opened up and I jumped on it. I then made my way to DNA Productions in Dallas TX where we worked on the Jimmy Neutron TV series and “The Ant Bully”. It was a master class in production and I was able to get my feet wet with some amazing talent around me. I did everything from character design and background painting to color keys and style guides. CCAD was not only where I gained an unparalleled foundation in the fundamentals but I was introduced to so many established artists within the industry and made life long friends along the way.Īfter graduating from CCAD, I got job in the art department working on DisneyToon properties “Fox and the Hound II” and “Aristocats II”. ![]() Extensive coursework in sculpting, painting, drawing, and technical illustration were the cornerstone of my education and I’m forever grateful for that. I grew up in a small town in Ohio and went on to study animation at the Columbus College of Art & Design in Columbus Ohio. Like many artists in this field I always had a love for animation and filmmaking and knew it was something I wanted to do from a very early age. Planetside Software Terragen Professional 4.5.56 ![]()
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