● Management of an R&D team of 3 engineers & 1 PhD, based in Paris & Rio (Brazil)
● Development (full stack) of software solutions BtoB & BtoC
● Work with film production company Goyaves (short films, documentaries, brand content) and its international network & subsidiaries.
L’AirCross Concept est un gros SUV qui fait office de vitrine technologique pour la marque Citroën. C’est dans ce concept car que le constructeur imagine les futures applications technologiques pour ses véhicules qui n’est d’ailleurs exploité que par Citroën et non les trois marques du groupe PSA. Un intérieur flashy pour un habitacle à l’ergonomie et l’équipement inédit, intégrant notamment de très grands écrans motorisés, des écouteurs et des micros dans les sièges, des caméras dans les portières ou encore une motorisation hybride. Nous avons rencontré l’équipe du studio numérique de Citroën, chargée de développer et tester l’ergonomie de l’interface homme/machine pour qu’elle soit le plus agréable, la plus complète et la plus stylisée possible… Et visiblement, la marque entend laisser libre court à son imagination.
► UNIS: the design studio where I worked for more than a year. You can see me on this video’s thumbnail, in the background. This video aired on French national TV news.
● Providing support for graphic artists
● Collaborating with designers and ergonomists
● Design and development of interfaces with Qt Framework and QML
● Programming tools for 3D modeling (Maya), 2D compositing (After Effects, Photoshop, Nuke)
Here is a brief interview I gave in 2011 for Movie Parliament’s Prime Minister Michael Dalton, about my work on the VFX of “Thor”.
You can read the article here: [www.movieparliament.com/foreign-affairs.html]
First, let me briefly introduce myself: with a scientific background (mathematics/physics), I graduated from University of Marne-La-Vallée (East of Paris) in 2007 with a [master’s degree in multimedia/audiovisual](http://www.ingenieur-imac.fr/). I did an internship in the studios [Duran-Duboi](http://www.duranduboi.com/) (Amélie, A Very Long Engagement), then worked several months as a software GUI designer.I’ve been now working for [BUF](http://www.buf.fr/main.php), a Paris-based VFX company, for almost 3 years. From the mid-eighties, BUF has become famous for its innovative creations and work on big-budget films (Fight Club, The Matrix Reloaded, The Dark Knight) as well as on more confidential art-house movies, clips and designs. As a matter of fact, BUF invented the “bullet-time” effect for a 1995 Rolling Stones clip directed by Michel Gondry.
My job is to manage the core production tracking development team. I am responsible for pipeline developments that impact the entire company including the central asset management system.Daily concerns are: what is the best way to share data with VFX supervisors, producers and graphic artists ? How can we follow up with the amount of information provided by every project, whether it be a commercial, animated short, of VFX-driven feature film ?
1. What is the toughest part about working on the VFX for a film?
Tight schedules are a common threat in the industry, and one must learn to be as competitive as possible. There is always a balance to find between artistry and increasingly demanding projects and techniques. For my part, pipeline modifications, though crucial, must be handled carefully. People tend to get used to work habits, good or bad, and it’s always tricky to introduce new ways of dealing with things. The key is collaborating and communicating.
2. What skills does working on VFX require?
I would say that the needed skills mainly depend on your position on the project, whether you’re a graphic artist or a producer, for example. As a whole, you have to be aware of the new trends in the ever-evolving cinema world. You also need to be reactive and propose new things, because let’s face it, there’s always something to do.
3. How was working on the VFX for Thor different to working on the VFX for other films? Did the films conversion into 3D change the way you worked on it?
I got involved in “Thor” a year ago; a lot of tests has already been done. The space travel sequence was a pretty big deal in terms of techniques and time length, and a challenging opportunity for BUF to break new grounds. I had to incorporate all the material that has been created into the new asset management system. Some things were matching, others not, and solutions had to be found on the go. As I loaded more and more data into the system, I came to realize this was the biggest project I have ever worked on. The two sequels of Luc Besson’s “Arthur and the Invisibles” were huge projects too, but post-production was already on its way when I started working on them and these were BUF co-productions, so a little less intimidating.A new feature I’m glad I succeeded in developing for “Thor” is the automatic generation of reviews and reports. Whenever a graphic artist wishes to present his work to his supervisors, he must prepare a kind of “previs” that includes movies, image sequences and comments. These little presentations are then uploaded onto the system and shared to everyone. An awful lot of time was spent by VFX supervisors to find the work needed to be validated among the dozens of new previs created every day. With my new technique, a simple option allows you to “copy” your presentation, so it is automatically added in a special directory for the Marvel reviews. No more searching.As for 3D conversion, BUF software has been able to handle stereoscopic work for a while now. Some tests were made here, but the majority of “Thor”‘s conversion into 3D was handled by the company StereoD.
4: What is the best thing about working on VFX?
Meeting new people. It is a privilege to discuss with graphic artists and be a part of a process that, from raw footage and green screens, will finally end on the big screen.On a personal note, I love discovering I can actually affect the way things go and improve people’s daily work day. On a recent meeting with Geoffrey Niquet (Technical Director on “Thor” and CEO Pierre Buffin’s long-time associate), he told me the automatic generation of reviews was a great help during the making of “Thor” and it will be used in all future BUF projects. That kind of moment is priceless.
5. What advice would you give to people who would like to do VFX work?
I suggest you watch a lot of movies and start to think about the artistry behind them. You can also watch DVD bonuses and visit VFX company websites. With the profusion of tutorials and social networks on the Internet, you can quickly get involved in the making of a film and learn your first tricks on the most widely used softwares in the VFX world: Maya, 3D Studio Max, After Effects, Nuke, Shake, RenderMan, etc. If you have graphic skills, don’t forget to set up a demo reel. Don’t waste your time with fancy music: most of the reels are watched with sound off.
6. Do you think there is too much VFX in films nowadays?
I don’t think so, I’m more reluctant towards movies that rely too much on VFX to carry their story. It’s amazing to consider how VFX has become a huge part of the film industry. We are now able to create literally anything on screen, from CG characters to facial expressions, set extensions, color schemes, etc. But VFX are only a tool, and the point is how you use them.
7. What do you think is the best way to use the advantages of VFX? In a subtle way like how David Fincher used it in The Social Network? Or in a more explicit way such as the Transformers films?
You couldn’t choose a better example: I’m a huge fan of David Fincher’s work. “Fight Club” started it all in 1999; this was also how I discovered BUF’s work. The way Fincher deals with computer-generated images while tackling ambitious topics never ceases to amaze me. The rowing sequence in “The Social Network” is gorgeous and Armie Hammer playing the twins is mesmerizing.“Transformers” is a lot of fun (I only saw the first one) but there are some times when I feel like I’m watching a VFX company demo reel. Same can be said for this year’s “Sucker Punch”.“Jurassic Park”, “Inception”, “The Lord of the Rings”, “Black Swan” : these are wonderful blends of VFX work and good story-telling. “Alien” and “Signs” are captivating too, although you almost see no special or visual effect until the end of the movie. In the end, I think it always comes down to the sincerity and quality of your story.
8. What are you working on next?
Marsupilami”, an adaptation of a famous French comics, and “The Grandmasters”, the latest film by Wong Kar-Wai. If you like VFX for big art-house names, you should definitely check out Gaspar Noé’s “Enter the Void”, which BUF co-produced in 2009.
Thank you for your interest.
You can find more reviews on my Vodkaster profile:
http://www.vodkaster.com/charlie
"The Little Prince" (2015) - director: Mark Osborne ("Kung Fu Panda")
production: On Animation Studios
Provided support on the spot, in Paris and Montreal
Integrated specific needs into our proprietary Web-based production tracking system: including features for editing, producing & stop-motion departments
Following the projection of “Take Shelter”, I have been lucky enough to assist a Q&A with Jeff Nichols. Here are some details revealed by the director:
About the ambiguous ending: "It is open, I have my version of what is true and what is not, but I don't want to reveal it."
About the schizophrenia: "It is not the main theme. The film deals with universal themes, that I hope will appeal to everyone. [...] I like the idea of nature as an antagonist. It has no distinction of bad people or good people, it has no motivation, it just exists."
You can find more reviews on my Vodkaster profile:
http://www.vodkaster.com/charlie
Provided support on the spot, in Paris and Montreal
Integrated specific needs into our proprietary Web-based production tracking system: including features for editing, producing & stop-motion departments
The new film by prolific Korean director Hong Sangsoo was met with cheers and laughs. What a joy to discover a truly inspiring comedy, after the torments of the Almodovar.
The film is about a man in his 30's who comes back to Seoul, which he left some years ago. He is a film director, looking for love and inspiration.
The plot is a succession of encounters and dinners, it seems the characters spend half of the movie smoking and drinking, talking about love, ambition and fate. The light-hearted tone is a pleasure, while "Melancholia" could also have been an alternative title for the pic. What do we hide from others ? What can we expect from life ?
Summary: Sure, it's better if lengthy dialogue is your cup of tea, but you should check out the film however, for its subtle reflexion on our lives, ourselves, and the amazing performances by the whole cast. The 80-minute runtime is also a good argument.
Rating: 5+/10
You can find more reviews on my Vodkaster profile:
http://www.vodkaster.com/charlie
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