Welcome to the thirteenth part in our series of ‘Behind the [screens]’. A sneak peek into the worlds of our super talented folks here at FOTW and a little bit about them and what life looks like in lock down. Jason Mackay our Senior Compositor who is up next to share his thoughts…
Name: Jason Mackay (Senior Compositor)
Working for FOTW since: 28th January 2019
How long have you worked at FOTW?
Just over 2 years…
What’s your favourite piece of work to date at FOTW that you’ve worked on?
The Vegas jobs are always great, really demanding but always with a great team and great finish.
Whose work inspires you / What Motion Designers do you admire and how does their
work influence your work?
I tend to look more at what the work studios produce more than the singular artist. The work of BUCK and PSYOP is always outstanding and something to strive for. On the VFX side of things, SCANLINE is an amazing studio that always produce incredible work. Obviously, MPC and the MILL are right up there. There might be too many to mention, but I love looking at their work and trying to figure out how they create shots and techniques they used. I try to take some of their tricks and apply them to my own work.
What made you decide to get involved in the creative industry?
I started learning 3D animation in my final year at school. I even submitted a 3D animation as my final piece for my art exam. I guess it’s just been something I’ve loved from the beginning and still do so it just keeps me intrigued. I think it’s the ever-evolving landscape of animation, nothing is static. Tools evolve / processes evolve so you as an artist have to continually evolve. I love that.
How has COVID changed the way you work?
Mostly it’s just cut out the artists being able to critique their work amongst themselves. I think that’s the worst part of working during the RONA. We would bounce ideas off one another and jump in with little additional elements to help elevate the spot you are working on. It’s now become something you have to actively ask for, instead of it being an organic moment.
What’s the best part of working at FOTW?
FOTW really is like a family, everyone tries to help each other. If someone needs help there is always someone who will offer to help or guide you in the right direction. Just a great group of people and a pleasure to work with.
“I started learning 3D animation in my final year at school. I even submitted a 3D animation as my final piece for my art exam. I guess it’s just been something I’ve loved from the beginning and still do so it just keeps me intrigued.“
How do you stay current with the technology and processes in the industry?
Seeing other artists work and being inspired by that to do better in my own work. Watching VFX/Animation breakdowns are a good way of seeing the little elements added but mostly finding/watching tutorials that push my knowledge. I really enjoy learning and continually trying to grow as an artist.
Redshift or Octane – What’s your preference and why
I’ve spent many years deep in vRay rendering. I’ve always loved the workflow and the final render results, that being said, Redshift is very similar and I’m enjoying porting my knowledge and skills over to Redshift. So to answer the original question it has to be Redshift.
I think a better question is “favourite Director” and the answer to that question is David Fincher. He has a tremendous ability to visualise a feeling… his attention to detail is second to none. A true master of the art. That being said one of my favourite films is Fight Club.
Any advise for the next generation of Creative/ motion designer?
Try to push yourself to add a little extra to every project. Keep your eye on other hi-end artists work, look at the little elements they add that really elevates the spot and try to mimic that in your own work. But most importantly, never stop learning.
Like what you see?
If you fancy a chat about what we do, give us a call on 01582 881144 or drop us an email firstname.lastname@example.org. We’d love to hear from you!