Jason Simpson is a working actor. Since graduating from VFS several years ago, he has been featured in radio commercials, animation, and video games, and has been teaching in the VFS Acting Program for four years. This is the life of a working actor, piecing together various roles, waiting for a chance at the big part.
And earlier this year Jason got this chance when he was asked to audition for the part of Fishface on the new family drama Young Blades. After being given a brief physical description of what the directors were looking for, he went to the audition prepared but still a little cautious. “I thought I would act like my eyes were bulging out and my lips were swollen, but then they told me to stop half way through. I thought I botched the whole audition,” Jason says.
But contrary to what he thought, the audition was cut short because the directors knew immediately that in Jason they had found their Fishface.
In the last ten years video games have become the fastest growing area of the entertainment industry. With their franchise rights among the most sought-after properties in Hollywood , and profit margins that rival blockbuster films, video games are attracting more attention and better talent than ever before. Yet, despite record-breaking sales and loyal fans, most video games still lack the prestige afforded feature films among people in the entertainment industry. While there is increasing respect for video games, the artistic value of games is still questioned by people who continue to see them as just that – games. “It’s considered sort of the bastard step-child,” says Nick Peck, “It’s still not as cool.” Sound Catches Up with Visuals Peck, who is currently Supervisor of Video Game Audio for George Lucas’ Skywalker Sound , spoke recently to VFS Sound Design students. His twelve year career has included working as Sound Supervisor at Lucasarts , and as Lead Sound Designer on the films Adaptation and Being John Malkovich. Peck’s video game credits include nearly ten Star Wars games, Secret Weapons Over Normandy, Indiana Jones and the Emperor’s Tomb, and most recently, Star Wars Episode III: Revenge of the Sith. According to Peck, the look of video games has been revolutionized by the introduction of digital animation. But as animation has become more sophisticated, the quality of sound has only now begun catching up. Much like the film industry, most game companies treat sound design as an afterthought, investing heavily in the visuals, and leaving tight budgets, as well as tight time constraints, for sound. But as video games continue to propel the entertainment industry forward, there is a push for games to become more cinematic. The use of Linear Cineractive Elements – the short movies interspersed between levels of game play – is part of a trend toward higher production values. Meanwhile, more memory is being dedicated for sound in video games, allowing sound designers to match the richness of the visuals. “Games are going Hollywood ,” Peck said. The Future is Foley For Peck, the real future of game audio lies in the addition of Foley. Foley is the process of capturing the sound of everything you see on screen. The introduction of Foley to game audio creates a more complex sound experience which captures increasingly realistic human sounds. “If you are operating a person, and you are moving him around in a first-person-shooter game, it’s extremely important to be able to reinforce the illusion by having the armour jingling and the gun jingling, the right sound of boots on the hard crunching snow,” Peck said, highlighting the significance of being able to add to games the details and nuance of sound. While Peck stressed the importance for aspiring sound designers of improving their technical proficiency, he also emphasized the need to build relationships with people in the industry. Admitting that all of his work has developed through his existing relationships, Peck advised students to keep knocking on doors, even when they appear to be closed, adding, “Keep learning, keep trying new things, keep meeting people.” Still, Peck was careful to remind students that connections will get you in the door, but only your skills will get you the job. “If you have programming and aesthetic [skills] you are the holy grail for game companies,” Peck said.
Patrick and Jon met in the VFS Film program in 2001. Patrick had just finished a degree in Communications and Jon, a self-described film addict, was looking for a way to feed his habit. The two connected immediately. Pat appreciated Jon’s passion. “Jon and I were really enthusiastic. We knew we wanted to work together, but we never had the chance on the student projects. It wasn’t until we did Apt. 310 towards the end of the program that we were able to do so.”
Near the end of their last term, students were sweating it out before the final showdown – the critical “industry pitch,” where students present their final game projects to the developers, designers, producers, and owners of the most prestigious game companies in Vancouver. The stakes were high; a good pitch might turn into a dream job: designing games for a living. The event was a total success. After a flurry of job offers, inter-studio maneuvering, and contract negotiations, the dust settled. and VFS grads were making games. We caught up with the students after a few weeks of work and learned what they’re doing, what games they’re working on, and the lowdown on the games industry in Vancouver.
A gaunt, gray figure walks into a circular room and looks up at walls full of glowing, pickled hearts. Suddenly, the jars shatter and the hearts shoot into the grey man’s chest, leaving him energized and confident. This is just one of many surreal scenes from Michael’s The Heart Collector. But Michael’s amazing student film is only one reason why he’s now enjoying gainful employment. “I knew that, to get work, all I needed was a connection. If I could get someone to take a look at my work, I knew I could get the job on my own merits.” Michael says of his search for work after completing his year at VFS.
VFS Makeup for Film & TV instructor Patricia Murray was recently honoured for her work on the hit sci-fi show Battlestar Galactica – an affirmation of her twenty year commitment to the craft. In the past, Patricia’s work has been seen in a rack of great shows and films, including Taken and The Sixth Day. She’s also been nominated for a variety of awards, including an Emmy nomination and a CNoMA (from the Canadian Network of Makeup Artists) for her work on Freddy vs. Jason. But it was as Head of Make-up on the hit show Battlestar Galactica where Patricia finally secured her place among Canada’s greatest makeup artists, winning the Best Special Make-up Effects Artist for Television or Feature Film award. VFS caught up with her on a break between her punishing on-set schedule and her time as an instructor for the VFS Makeup for Film & Television program.
Before attending VFS, Tamara worked in photography doing custom printing and processing for professional photographers. In her spare time, she dabbled in animation, making stop motion and hand drawn shorts with a Bolex Super 8 camera. But it was in her 18 th year, when she saw the Warner Brothers‘ short film “Daffy Doodles,” that her life took an unexpected lurch forward. “At that moment I knew that the skills I had been cultivating all of my life could be directly applied to animation. There was no looking back.” From that moment on, Tamara worked solely towards attending Vancouver Film School. “There were a lot of reasons why I chose VFS,” Tamara says, “The first being the faculty and the second being the glorious city of Vancouver.” Upon finally settling in the city and getting her teeth into the Classical Animation program, Tamara knew that the wait had been worth it, “It was the first time in my life I ever felt like I was somewhere I belonged.”
As a Sound Editor, Scott gets to do it all, from organizing recording sessions to working as a foley artist for creating sound effects for a film. He now has five feature films to his credit, including Mortuary, which was released in 2005 and was directed by Texas Chainsaw Massacre‘s Tobe Hooper. Scott has also had the opportunity to work on other films exclusively as a foley artist. Passion for Sound Sound is Scott’s passion, no matter what form it takes, and it’s a passion he’s quick to share with others. Prior to attending VFS, he worked for many years as a house DJ and recently produced some of his own tracks. “I’ve always been interested in the manipulation of sound,” Scott says. “It’s important for people not just to hear, but to listen.” It was only natural for Scott to take Sound Design at VFS. He found the program intense, but ultimately rewarding. “It was great, especially getting my Pro Tools certification. It’s the tool I use everyday.” But learning the tools of the trade was only the beginning, Scott says. “You also need the skills to know what to do with those tools.” Pro Tools and a Little Networking Skills like networking, which has been very important in Scott’s career. “Even though a lot of time is spent solo in your editing room, you have to be outgoing. You can’t be a wallflower,” Scott says. “A big part of the job is creating and maintaining relationships with various people, from directors to video editors to mixers to delivery guys.” Scott put his own advice to good use and moved to LA just two weeks after graduating. He quickly began to hand out resumes and worked hard to meet professionals in his field. “I was fortunate to get a chance to look around at Digital Dreams’ studio,” Scott says. “When I was there, I met Clancy Troutman, the owner and long-time sound supervisor. We ended up hitting it off.” Shortly thereafter, Scott was hired. Learning from Experts Scott is thrilled to have the opportunity to work with industry veterans. “These guys have hundreds of credits in film and TV. They know what they’re doing and it’s a challenge to consistently meet their high standards,” Scott says. But meeting the challenge is a reward all in itself. “Every project is a highlight this early on in your career,” he says, “but the best thing about my job is hearing my hard work come through after the film has been mixed.”
See blue screen in the Showcase This of course was the concluding scene to Back to the Future. We see the DeLorean’s wheels lift up. The car blasts down the street, turns, and heads toward the camera before disappearing… into the future. In 1985, when the movie was released, flying cars were still difficult to come by in the average feature film. What made this scene possible was a still recent technology (for the time) called the blue-screen.
Head of Game Audio for Skywalker Sound speaks to Sound Design students
Film Grad Duo Invited to 7 International Film Festivals
Brookstreet Pictures is a young production company with an impressive resume of award winning short films. Their most recent project, Still Life, has already been accepted into seven film festivals, including both Toronto and Montreal. The producer-director team at the heart of Brookstreet is VFS grads Patrick White and Jon Knautz.First Game Design Grads Already at Work
Barely a month out of the gate, and graduates of GD01 – the first-ever VFS Game Design class – are already making games.Michael Fallik Animates at Global Mechanic
Unlike the title character of his student film The Heart Collector, Michael Fallik doesn’t need to absorb others’ hearts to be confident – all he has to do is show up to his new job at Global Mechanic.VFS Makeup Instructor Recognized for Laser Wounds
VFS:
So you’ve been in make-up since 1985. that’s a long time. What keeps you going?
PM:
Wow. I just keep having fun. I have as much passion applying make-up today as I did the first day I applied make-up 20 years ago – and I will keep painting as long as that passion is ignited!
VFS:
What shows are you working on now?
PM:
Ok, you ready? Battlestar Galactica‘s 3rd season is coming up! I’m Head Makeup on the series. I not only do makeup physically, but I also run the department. I have a great crew and they work very hard (2 to 3 people) so we shoot main unit and 2nd unit and I’m also prepping 3 to 4 scripts in advance so that I can make the specific calls and line up the correct meetings. We work with prosthetics/out-of-kit effects/beauty and breakdown makeups. We have a large cast of 15 or more at a time.
VFS:
Any crazy stories?
PM:
Well, there are so many… they range from standing in the pouring rain to keeping makeup fresh in the desert to keeping makeup on in the freezing cold! I’ve been covered head to toe in blood splatter while picking up a coffee at 7 eleven during rush hour! I’ve dropped off body parts during the day from the trunk of my car while innocent bystanders gasped in horror! I’ve laughed so hard from pure exhaustion that even the camera man couldn’t roll the camera… I’ve laughed and sometimes cried but have never stopped being truly amazed and honoured to work with the many talented artists that I’ve had the opportunity to work with.
VFS
And now you’re an award winning make-up artist. How does that feel?
PM:
I was nominated for Freddy vs Jason in 2004, which was awesome. And this year I won for Battlestar Galactica. The award was Best Special Make-up Effects Artist for Television or Feature Film. It’s a peer award… meaning my peers voted me in… It’s an honour to receive such recognition from people I respect so much.
Grad Tamara Knoss finds Amaze-ing Job
At 18 years of age, Tamara Knoss had an epiphany – she realized she loved cartoons. Now, Tamara is a lead artist at Amaze Entertainment in Kirkland, Washington.Five Feature Films on Sound Design Alumni Scott Westley’s Resume
Digital Dreams is a busy sound studio in Burbank, California. The studio was founded by industry veterans Clancy Troutman and George Nemzer, and provides every post-production service from sound editing to the creation of foley and sound effects. Among Digital Dreams’ most recent credits are What The Bleep Do We Know? and Toolbox Murders. And among their most recent hires is VFS grad Scott Westley.Acting Gets the Blues
Remember Michael J. Fox saying “Hey, Doc, we better back up, we don’t have enough road to get up to 88,” and Christopher Lloyd responding ” Roads? Where we’re going we don’t need roads.“