The VFX Factor: Why Time Is of the Essence with Jack Sheldrake
Jack is a versatile artist with a proven track record in post-production, having held posts at PICS CGI, Unit, Bubble TV and Untold before joining Cheat. Over time, he's honed his expertise in a diverse range of skills, including retouching, CGI, offline editing, animation, photography, cinematography, online editing, and compositing—a true Jack of all trades. His knack for creativity isn't confined to the workplace; it's also a driving force in both his professional and personal pursuits.
Fuelled by a genuine passion for filmmaking, he thrives on transforming visions into vibrant cinematic experiences. And armed with his extensive skill set, he aspires to eventually step into directing, where he can bring his creative ideas and narratives to life.
LBB> What’s the biggest misconception people have about VFX?
Jack> There's a common misconception that all VFX is flashy and overt, grabbing your attention. In reality, much of the visual effects I have the pleasure of working on involve the subtle art of concealing or eliminating elements that might be considered eyesores. Often, seemingly straightforward shots, ones you might assume lack any VFX, have undergone extensive hours of exceptionally meticulous and finely tuned craftsmanship.
LBB> There are two ends to the VFX spectrum - the invisible postand the big, glossy ‘VFX heavy’ shots. What are the challenges that come with each of those?
Jack> Compositing elements that aren't inherently realistic to create a convincing illusion and seamlessly removing elements from a shot to restore its originality pose equally formidable challenges. Both tasks demand a delicate balance of technical expertise and artistic finesse, showcasing the intricate dance between skill and creativity in the world of visual effects.
LBB> As a VFX person, what should directors be aware of to make sure you do the best possible job for them?
Jack> Time is of the essence. If a director has a clear understanding of how long it will take to do each task in post - many things might get addressed in the production to avoid any pointless time consuming tasks that could’ve been avoided in just a few minutes. Efficient communication and planning are crucial, especially in the fast-paced world of production. The more clarity everyone has about their roles, tasks, and timelines, the smoother the process tends to be.
LBB> VFX is a true craft in the classic sense of the word. Where did you learn your craft?
Jack> I've been exceptionally fortunate in my career, having had the privilege of learning from incredibly talented individuals. My time at CGI PICS provided deep insights into the intricacies of the 3D world, working under Lewis Rowe, head of CG, pushing the boundaries of my understanding. Later, at Bubble TV, I honed my compositing and cleanup skills, delving into the artistry of Autodesk Flame with the help and guidance from Richard Greenwood, a freelancer at the time.
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?
Jack> Success lies in detailed planning. Having a precise grasp of the time required for each task and strategically sequencing their execution is paramount. Attention to detail, ensuring everything is neat and tidy, adds another layer of efficiency. A well-organised job from the start paves the way for a smooth workflow.
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?
Jack> This is a significant challenge I grapple with. Left to my own devices, timing could become a hurdle, and deadlines might be missed. Recognising the perpetual room for improvement is crucial. While overcoming this on my own can be a struggle, the presence of a producer or a director, decisively stating “it’s done, move on,” proves immensely beneficial in navigating such situations.
LBB> Is there a piece of technology or software that’s particularly exciting you in VFX? Why?
Jack> A significant hurdle in achieving realism and fluidity is often attributed to poor lighting. The advent of real-time rendering and LED backdrops marks a departure from the era of green screens and subpar lighting. Achieving on-set accuracy is paramount in film and TV production. When confronted with a vast green screen and a foreground performance, directors and cinematographers grapple with visualising the seamless integration of actors into the envisioned world. The transformative capabilities of contemporary technology, however, bring us closer to an immediate and lifelike on-set experience. This, in turn, significantly influences the post-production process, shaping the meticulous art of precisely compositing these elements to perfection.
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)?
Jack> I think it is an incredibly exciting time for film makers and artists. The advancement of sophisticated and real-time renderers opens up new possibilities, allowing VFX artists the freedom to focus on enhancing various aspects of post-production. This, in turn, streamlines certain time-consuming tasks, paving the way for increased creativity and adaptability.
LBB> VFX is a craft that relies on you really looking at nature - how light works, how gravity works, the mannerisms of a kind of creature, how crowds work, skeletons, explosions… whether its animation or compositing or anything else… So how do you like to approach the research side of your job? What’s the most random or intriguing thing you’ve learned from working on a project?
Jack> During my time at PICS, I engaged in numerous projects featuring the modelling of glass or plastic products with liquid interiors. Manoeuvring through the intricacies of 3D lights penetrating these models required frequent adjustments to accommodate elusive refractions and reflections. Delving into the realm of rendering lifelike caustics, born from light filtering through crystals. It was in these moments that my passion for the artistry of light truly blossomed.
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?
Jack> My attention tends to wander when watching a film as I scrutinise every minute detail, attempting to uncover any imperfections. I enjoy envisioning how the shot appeared before post-production enhancements and speculate about the elements that might have been removed or added. With more recent films, the artistry is so seamless that detecting any anomalies becomes nearly impossible.
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?
Jack> My initiation into the industry began as a junior retoucher, refining my eye for detail to a pinpoint precision, especially in the realm of still imagery where there’s no margin for error. The most important lesson learned during this period was the art of maintaining projects in an organised manner. I quickly grasped that a well-structured setup and a tidy workflow were imperative for tackling tasks efficiently and resolving challenges appropriately.
LBB> What was your first creative milestone in the industry – the project you worked on that you were super proud of?
Jack> Undoubtedly, my proudest industry moment was contributing to the ‘Make a Wish UK’ campaign at Bubble TV. Collaborating closely with the director, John Turner, infused the project with an enjoyable energy. What added to the significance was the opportunity to contribute to a cause as meaningful as this. The freedom to explore our creative touch amplified my passion for such projects. As someone aspiring to direct and immerse myself in diverse creative endeavours, this experience stands out as a memory I’ll cherish indefinitely.
LBB> From a VFX perspective, which ads have you seen recently that you’ve been particularly fond of and why?
Just> From a VFX standpoint, something that really caught my eye and stuck with me was the exceptional Coca Cola ad titled ‘Masterpiece,’ a production that clinched numerous awards for Visual Effects at the 2023 D&AD. This masterpiece wonderfully integrates intricate and dynamic camera movements with astonishing CG and animation. Notably, the fusion of textures and effects as we immerse ourselves into each painting’s world adds an extra layer of brilliance to the overall cinematic experience.
