The VFX Factor: Heiko Burkardsmaier on Seamless and Unnoticeable Effects
Heiko Burkardsmaier has long-standing expertise in visual effects and legal affairs, having worked in the industry for the last 20 years. After finishing his law degree, he joined EM.TV in Munich as legal counsel, where he was responsible for merchandising contracts and international co-productions. He subsequently worked as general counsel of the EuroArts-/Medici Group and came to Pixomondo in 2008, where he managed the Stuttgart branch and was responsible for legal affairs worldwide.
In April 2013, Heiko joined Mackevision as VFX executive producer and head of business and legal affairs, later becoming part of Accenture Song, that’s where he continues to create seamless VFX today. Having worked on projects such as ‘HUGO’, ‘Lost in Space’ and HBO’s ‘Game of Thrones’, ‘Watchmen’ and ‘The Nevers’ series, it’s safe to say that his experience and craft have contributed towards Academy and Emmy Award winning VFX work.
Heiko sits down with LBB to talk about his journey in more depth.
LBB> What’s the biggest misconception people have about VFX?
Heiko> One of the biggest misconceptions about VFX is that there is a ‘magic button’ that allows quick and inexpensive creation. Although VFX technology has advanced and now enables us to achieve things that once were impossible, it still requires investments in terms of time, resources, and budget. In fact, clients now have even higher expectations, necessitating the same level of work and artistry as a decade ago. The advancements in VFX technology enable us to create dragons, CG water, destruction, fantasy and futuristic worlds on streaming and TV, rendered in 4K. In comparison, ten years ago, a typical TV show probably had only 10-20 complex shots in HD, while the remaining shots were compositing and 2D set extensions. Big effects were generally reserved for the big screen in 2K.
LBB> There are two ends to the VFX spectrum - the invisible post and the big, glossy 'VFX heavy' shots. What are the challenges that come with each of those?
Heiko> We strive to make big, glossy effects as seamless and invisible as possible, aligning with the client's wishes. However, there are various challenges that can prevent us from achieving this, such as the artistic direction, look and feel of a show or simply constraints in time and budget. Nevertheless, there are numerous examples of successful shows where we were able to achieve photo-realistic results due to VFX technology. Netflix’s ‘Lost in Space’ was nominated for a Primetime Emmy Award for best VFX in all three seasons.
LBB> Think about the very, very start of a project. What is your process for that? Do you have a similar starting point for all projects?
Heiko> The process typically starts with the bidding process – either based on the script or on a storyboard. After that, either our art department or the client proceeds with concept art and pre-visualisation before the shooting begins.
LBB> We imagine that one of the trickiest things with VFX is, time issues aside, deciding when a project is finished! How do you navigate that?
Heiko> In the end, the client decides when a project is finished. Our goal is to deliver a high-quality product that exceeds the client’s expectations. Once the client is happy, we consider the project complete.
LBB> Is there a piece of technology or software that's particularly exciting you in VFX? Why?
Heiko> Side FX Houdini is an incredibly powerful software that we fully adopted for all our 3D pipeline about three years ago.
LBB> And as real time tech and games engines become ever faster and more sophisticated, how do you see that shaping or changing the role of VFX and its place in the production pipeline (e.g., thinking about things like virtual production)?
Heiko> Real-time technology and games engines have the potential to replace a significant portion of VFX productions for content mainly consumed on mobile devices. However, for high end VFX, 4K is currently state of the art and real time doesn’t play a major role. Of course, LED wall shoots are becoming more common, but a lot of this material still requires intensive re-work. Once USD (universal scene description) technology is more widely established in the VFX pipelines, we may see more use of real-time technology in VFX.
LBB> What’s the most random or intriguing thing you’ve learned from working on a project?
Heiko> With the right team, budget, and time almost everything can be brought to the screen with photorealistic quality.
LBB> When you’re watching a VFX-heavy ad or movie, what are the tells that you look for to figure out how well-crafted it is?
Heiko> A well-crafted VFX should be seamless and unnoticeable – unless it’s part of the artistic direction.
LBB> How did you first get into the industry? What was your very first job in the industry and what were the biggest lessons that you learned at that time?
Heiko> I started my career in the VFX industry with a job for the TV show ‘Starhunter’, season two. During that time, we had many talented artists in Germany, but we lacked business knowledge. We realised that it was essential to have a clear understanding of the work required for each shot to provide accurate cost estimates and assumptions to ensure the success of the project.
LBB> What was your first creative milestone in the industry – the project you worked on that you were super proud of?
Heiko> One of my proudest creative milestones in the VFX industry was being responsible for the Stuttgart team of Pixomondo that contributed around 20% of the VFX work for the movie ‘HUGO’ which won the Oscar for best VFX. The same team later became the leading team for season two of ‘Game of Thrones’ which won the Primetime Emmy Award for best VFX. At Mackevision, which is now Accenture Song, we won a Primetime Emmy for season four of ‘Game of Thrones’ and received five Emmy nominations in the last four years. These achievements were significant milestones in my career that I am immensely proud of.
LBB> From a VFX perspective, which ads have you seen recently that you've been particularly fond of and why?
Heiko> One impressive VFX commercial is the Ladbrokes x Rocky ad. It combines good storytelling and VFX.
