Steven Lees-Smith with the Oscar won by the film Happy Feet, for "Best Animated Feature Film" 2007
Steven aquired a passion to work in the 3d and VFX industry by becoming exposed to it early on through his own software and hardware business SelectCG.
After completing the 3d Character Animator course and some freelance production work, Steven now works at one of the best VFX studios in the world, namely Animal Logic an Australian VFX powerhouse which has contributed to some of the best VFX movies ever seen, such as, Matrix Reloaded, Hero, House of Flying Daggers and of course the Oscar winning Happy Feet.
For more about Animal Logic visit their website here >
Why did you choose mad academy*?
I noticed MAD at a couple of trade shows and liked what I saw. After asking around, people seemed happy with the work there and the instructors I had spoken to had real industry working experience - it made the choice a pretty simple one.
What words of advice would you give someone looking to invest in a mad academy* 3D Animators education?
Do your research and compare apples for apples when it comes to what you are going to get during and after the course, the mad courses stand out over others I had seen.
What was your career path prior to Visual Effects?
I was an Analyst Programmer prior to my mad course but I also sold software and hardware to the 3D industry as a small side business.
What inspired you to change direction?
I have always seen myself as a creative person and I like variety. Being exposed to this industry through Select CG fueled my passion to for creativity, the next logical move was to look for a way into the industry.
After graduating, how did you get started at Animal Logic?
I bugged them and bugged them. I applied for any role they advertised that I seemed even semi-qualified for. There were a few knock-backs but I kept on trying until the right role came about. The bonus was that role was heavily involved with Happy Feet.
What was your role on the recent Happy Feet production at Animal Logic?
I was the Data Management Coordinator. From Day One I was on the go. The role was based around liaising between the Data Ops group and production to make sure everyone knew what was going on with everything. Monitoring space for renders, checking with production to see what they had coming up, keeping track of large scenes as they were moving through different stages of production to make sure they didn't stop for any system reason. There was also liaising with production and R&D when system tools needed tweaking or something needed to be created to help get the job done the way we needed it to. It was a busy role as it extended across to the upcoming feature film 300 also as well as the last threads of our work on Oliver Stone’s feature World Trade Center.
What has your experience been like working at one of Australia’s leading VFX & Film production studios?
I am loving it. I am getting exposure to a huge pipeline and all the departments that go along with it. With my IT Coordinator role, I am being exposed to every single aspect of the business and developing great skills along the way. There is a huge amount of resources here also, so I am learning a good amount about the software that is used at Animal Logic.
What took you by surprise with the job and the company, and what did you learn once you started at Animal Logic?
The sheer number of people was the first thing that blew me away. When I started here, there were over 500 people from countries all over the world, all specializing in different areas. Some places I’ve worked I have found that the larger the number, the less people you know or talk to you, but at Animal people would always say ‘Hi’ in the corridor or have a chat in the kitchen and the like.
Were there any specific hurdles or problems that the team had to overcome during the production?
Juggling space on the filers was a constant issue. We always needed to make sure there was enough space to complete the rendering. Sometimes this was challenging when scenes were rendering out larger than expected, but we always managed. Getting the artists to clean up their working areas was always a challenge but when push came to shove everyone worked together to get the results that were needed.
What is the environment like at such a high level production studio?
From the point of view of my job, I find it very relaxed. We are always busy and towards the end of Happy Feet there was an incredible schedule of work on to get the job completed, but the company stepped up and did whatever it could to help support the artists. There were weekend breakfasts put on, the usual Thursday lunch served up by the kitchen, and at one point we even had a massage team wandering around giving everyone a 10 minute head, neck and shoulder massage.
Can you give us a brief rundown of your typical day as IT Coordinator at Animal Logic?
There isn't really a typical day. I am involved in nine different projects at the moment. One day I may be re-doing seating plans in Photoshop for some staff moves or working in the tech room sorting out some hardware moves. I was also involved in the pull down of the David Tench Tonight set when the season finished and was responsible for ensuring that all the equipment was accounted for. I was also responsible for deploying new software on the farm as well as event managing some internal Happy Feet screenings we had at Animal – so, my job can vary greatly from day to day.
What are the other staff members like at Animal and do you get chance to learn from each other?
People are very helpful. If you show an interest in something that someone is doing, you can end up getting a mini run down on a process or technique from them. If someone knows you have an interest in something, they will almost always send you a tutorial link or some sort of training guide to help you along.
What skills and abilities were Animal looking for when they hired you?
The role I started in was more IT-based, but having an interest in the industry, especially having done a course and being familiar with a production pipeline, was definitely an advantage also.
During your time at mad academy* what kind of preparation did you gain that helped with your current role? Skills, experience, connections, etc?
Connections were one of the points that swung me towards MAD. I wanted something more than just doing a course where once you’re done, there is nothing else. Having an instructor that has worked in the industry (and still works) was a big help also as it gave me an insider’s view into what things would be like at a studio, the level of work and commitment they expect, etc.
What was the greatest learning experience you gained working on such a high level and prestigious project as Happy Feet?
The knowledge of the pipeline and production process. Happy Feet was a huge project and having exposure to every level of the project has been invaluable.
Many production environments get hectic, especially nearing deadlines; how busy did you and your team get during the more intense times on the project?
From the Data Management side of things, we had people in from 8am to 10pm, six days a week, and in some cases seven days. When there was no one in the office there were key people monitoring the systems remotely all through the night also, as there were jobs on the farm 24 x 7 towards the end of the production.
What has been your favorite thing about being involved with this and other projects at Animal Logic and working with such a large staff of talented people?
Getting a credit on Happy Feet has been a bit exciting for me as it was not anything I ever expected. I have enjoyed just watching and learning about what really goes into what we see on screen. From full-length films to TVCs, it is great being exposed to the whole environment and seeing the people here weave their magic to make it happen.
What are your goals for the future – stay in IT, branch further into 3D at Animal or elsewhere?
Ideally I would love to stay at Animal. I am currently learning After Effects and am looking at expanding my skills into Shake also. My IT role has expanded into the management of the render blades, as well as some other projects coming up here so the IT future is a busy one also for the time being. IT or 3D, I am happy if it is either at Animal.
What is your ideal job?
Working in this industry is ideal, I like the creative side of things, so maybe some 3D environmental modeling, fluid simulations or VFX work. On the flip side of that, I like doing Photoshop touch-up work, which I have been doing lately. As long as there is some variety to the job I am pretty easily satisfied as long as it’s in the field I enjoy.
What kinds of other 3D work have you been involved in commercially?
I have done some freelance work for an advertising agency in Melbourne. This was basically building 3D versions of their static or 2D animated logos, building new life into some flat looking logos. One of the highlights was doing the animations for 'Solo the Sub' when it was released. These animations had the bottle jumping around and dancing, and were shown on huge screens around Melbourne - on the highway and on some plasma screens at shopping centers. I have also been doing some fluid simulations for a studio in America and some VFX work for a film in South Australia. I have worked in a studio on some TV commercial work, so that was nice seeing my work on television. I have also looked after some of the rendering aspects for a few transitional spots for a kids’ TV series.
Do you have any words of advice for students considering a career in animation and visual effects?
Always keep reading. Keep looking for ways to refine your technique and see what you can learn from other people. Also, never be afraid to ask a question, even if it seems too simple or obvious. No one was born knowing everything. If someone is a guru at what you want to learn, they had to learn also – you never know wha t info they are likely to pass on unless you ask.
What is your demo reel advice?
I have had conversations with various people and often hear the same thing: Only show your best work and don’t drag it out – simple. I have seen a reel from someone who only had one character in it but the reel showed a white render, wire, texture and some really nice animated sequences with it. The whole thing went for less than 90 seconds but it was really well received.
email us | terms
of use | privacy policy | copyright
