![]() From the description, it seems that you’ll be talking a lot about the history of early visual effects. Way too many to relate here…Of course there was the time when I was dangling in a basket 1000 feet above the Colorado River.Or the writers on one film who told me that they were waiting for me to finish animating the pre-visualization so that they could write the script.Or the director who said "What's this vision s-t? That's your job!" War stories? You are joking! I think there are people in this business who do it just for the stories they can tell. Whether it is dealing with producers, directors, cinematographers, writers, actors, special effects, visual effects artists, computer scientists, or craft service, communication is the most challenging part of my job. What’s the most challenging part of your job? Any war stories you can tell? The most challenging part of my job is clearly communicating what I want and what is needed to an incredible band of characters - and then getting them to do what is needed. Beyond that, Pre-Renaissance and Renaissance art, the Futurists, Ernie Kovacs, Bob Clampett and Stan Freberg, Etienne Marey, and Harold Edgerton. Directors were/are Cocteau, Hitchcock, Capra, Sturges, Huston, Coppola, Ridley Scott, Zemeckis, and Weir. What are some of your early and/or continuing influences as a visual effects artist? Early influences in visual effects were Bud Abbott, Linwood Dunn, Willis O'Brien, Ray Harryhausen, and Peter Ellenshaw. Still of Iorek Byrnison, armored polar bear, in The Golden Compass. ![]() In the discussion, they asked me what I should be called, and I said "Visual Effects Supervisor" (I probably made sure the capital letters were felt). After a few weeks the producers figured I was worth keeping around, so they offered me a job. But, I hadn't been hired, and only got involved because I had a friend in the art department. Actually, I would hang out in the WarGames offices, and go to meetings to offer up whatever I could to help. In late 1981 or early 1982, I started on the film WarGames. The demands of finding creative, technically challenging ways to solve thorny problems was invigorating. After about 2 years, the hook was set, and I left my art studio behind. I got my first job in the business as an attempt to find some way to make more money for my art, but was swept up in the collaborative artistic effort that is filmmaking. How did you become a visual effects artist and supervisor? I was a studio artist, creating tableaux that referred to what I hoped were universal difficulties in life and then photographing them. He spoke to us by email about the “wars” he’s been in on set and what students can expect as the world of visual effects transitions into the CGI age. In 2008, Fink won the Oscar for Best Achievement in Visual Effects for The Golden Compass, and was nominated for the Oscar in 1993 for Batman Returns.įink will begin teaching CTAN 432, The World of Visual Effects, during the upcoming spring semester. Fink has visual effects credit on over thirty films including Tropic Thunder, X-Men, Mars Attacks!, Braveheart, and Blade Runner. Chances are, visual effects artist and new SCA adjunct faculty member Michael Fink had a hand in creating them. ![]() Many students choose to attend film school because of the amazing worlds they experienced in the movie theater growing up. Mitchell Business of Cinematic Arts Program John Wells Division of Writing for Screen & Television.Hench Division of Animation + Digital Arts
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