As to a daily routine? One of the great things about the job is that every day is different, so no two days are the same. Wow, Chen, that’s a lot of questions! I think I’ve answered your question about what I did before becoming a Supervisor above. As the saying goes, an artist never finishes work, they merely abandon it!įrom Chen ZG: Hi Hayden, what is your daily routine like? what does it take to become a supervisor? how many artist are you taking care? before you become a supervisor what will you doing? The worst thing is when sometimes, due to time pressures and budgets, you have to finish a shot without being able to make it absolutely perfect. The best thing is seeing a shot or sequence finished, looking great and having a happy client and VFX team. Maintaining and improving upon your drawing, sculpting and photography skills is important at every stage of your career. One of the joys of the industry is that there is always something new to learn. But learning shouldn’t be something that happens only at the start of your career. I also think you need to have a wide knowledge of VFX, not just current 2D and 3D techniques, but a historic appreciation of film-making in general.Īre there any particular training / courses you’d recommend?Ĭoming into the industry, I’d definitely recommend the Escape Studios and FXPHD courses they seem to give the best all round education for starting in the VFX business. Most of your time is spent talking through ideas with artists and clients, so being able to communicate concepts both verbally and through drawings is an absolute must. What natural skills do you think lend themselves to doing your job?Ĭommunication is probably the key skill to have as a VFX supervisor. This is so often a stumbling block for many junior artists. Also, one of the hardest things to learn when coming into the industry is that you have to concentrate on what the client wants for a shot, not what you want. I’d suggest asking established VFX artists, they are normally quite happy to share a bit of knowledge.
It’s up to each artist to not only work out what work they enjoy doing, but also to see how they best fit into the industry. I think you need to approach the industry with your eyes wide open. Is there any advice you would give to someone coming into the business? I’ve tried a couple of times to learn this, but have now decided to leave it to others! Also I’d really liked to have been able to write code. I have had to study this around the pressures of work, which is never ideal. I wish I had more time during school and university being taught traditional art techniques. Is there anything you wish you had done before you joined the industry which would have better prepared you for your career in VFX for TV? I paid for myself to go to Siggraph and managed to persuade a rather gullible head of 3D at Cinesite to give me a job, sixteen years on – we’re still working together.
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I worked as an artist and game designer for nearly three years which gave me time to learn how to use Softimage on a ridiculously expensive SGI machine. On leaving school I studied for a degree in industrial design and, on finishing university, decided to get a job in the game industry. After that I spent most of my time doodling spaceships in the back of my school textbooks. I was probably hooked on VFX after I watched Star Wars at the Wolverhampton Odeon – I was five. From initial meetings with clients, through script breakdowns, designing concepts and on-set supervision, all the way through to supervising the artist teams and working on final shots.
As one of the VFX Supervisors at Double Negative TV, his role revolves around every aspect of the VFX process.
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Hayden has spent the last 16 years in the VFX industry: From industrial design, through games development to Film and TV VFX, he has worked on nearly every size and shape of VFX project. Hayden Jones is one of our VFX Supervisors at DNEGTV.
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