When elements collide

In this Paths interview, Lead FX TD David Adan describes his career journey, from his first interest to leading teams, before giving advice to aspiring FX TDs.

What does the FX team do?

The FX team is in charge of creating effects (FX) like fire, smoke, water, dust, explosions, natural elements, magic elements and even destruction, the range of effects that we may need to generate on any given project can be very wide. To generate all these effects, we make use of several tools, like particle simulations, fluid simulations and procedural workflows.The work of the FX team is both very creative and very technical, so it can sometimes be very challenging, but overall, it is a very fun work.

Can you tell us a bit more about your path?

I originally studied graphic design in Mexico, where I’m from. I liked films, video games and drawing and I studied graphic design as a path for learning the visual arts. That led me to work with moving images and animation, which I think that was the trigger for me to pursue a more entertainment related career. Where I lived, I worked for local television, which I really enjoyed, and that eventually led into film and visual effects.

What would you say is the most challenging part of your job?

What we do is very technical, so FX artists constantly need to improve, to study and keep up to date with the technology. Technology evolves very quickly and that makes us keep growing and learning every day. You need to keep your skills up in math, algebra and geometry, even physics, because that’s all relevant to what we do.

What has been your favorite project so far?

One of the first projects where I worked as an FX TD was Jumanji: Welcome to the jungle, so that’s more of a sentimental thing for me. I started with a few shots, but eventually grew into having more work as my skills grew. Later in my career, Black Panther: Wakanda Forever was a great project and it was also quite challenging. We created a lot of water scenes. Although water is usually complex, it is one of the things that I enjoy doing the most. 

Can you tell us a bit more about the tools and softwares necessary to master to get into effects?

We mainly use Houdini, which is very powerful in the area of FX. I have personally worked a lot with 3D studio Max. However, as an effects artist, Houdini is our main tool. It’s also very useful to know some lighting software. Most of the artists have used Arnold or Gaffer. 

You said you worked in architecture, does that help you in your work in effects?
Yes, I think it does. Architecture is very detailed in modelling and lighting work. So I think especially in lighting you need to have a keen eye, a bit like a photographer. So it definitely helped me to create my own materials, my shaders set up scenes. So things like composition in architecture, those things are very important. So you definitely learn from there and acquire a certain eye.

What really sets a demo reel apart in your opinion?

For me, when an artist is starting out, I think that having an artistic eye and good creative instincts is just as important as technical ability. You notice it in the way they light, the way they composite, the way they set up a scene, and that creativity and originality is usually what sets them apart. Often, demo reels of people starting out feature the same tutorials and the same kind of scene FX, but when an artist is creative or original, you can see that in their demo reel.

What sort of references should aspiring artists use?

I think the real world should always be the first reference. One of the mistakes juniors often make is take reference from films. It’s good to be inspired by films and television, but ultimately we want to mimic real life, so that’s the best reference.  You need to be observant and to really look at the world around you, how people walk, how the wind blows in the trees, how dust rises and falls. Nature is definitely your best reference. 

And what is the ideal length for a demo reel?

Keep it short and only include your best work. People often won’t watch more than a minute, so put your best work right at the start. Sometimes 3 or 4 shots are enough to show what you can do.

What kind of qualities are you looking for in a student or a junior that’s wanting to join your department?

As I’ve said, I look for creativity, alongside technical ability. Enthusiasm is important too – people who really enjoy what they do are often the ones who grow the most. You need to be hard-working; VFX requires work, dedication and study, which is why it’s also important to enjoy what you do.

What mistakes do you often see juniors make?

One of the things I see often in junior artists is overcomplication. The current software lets you do a lot of things, which can be quite overwhelming. However, usually the basics will often get you halfway to where you want to be, most of the time. The tendency to overcomplicate and to overlook the basics is common, but you should always start there. 

Are there different paths that people can take to get to effects, in your opinion?

Definitely. Personally, I’ve known people who have come from architecture, from graphic design, animation and even from programming. It really doesn’t matter where you start, as long as you focus and work hard. I think the main thing is to know where you want to go and to make a plan.

What is the biggest thing you’ve learned in your role at Cinesite?

To always be ready to learn new things, to stay open to different approaches, new pathways and new knowledge. Even if you’re happy doing what you’re doing, there’s so much else out there in the industry that may be your next thing, so don’t shut yourself off – you never know!