“FMX 2012 will attract industry leaders, digital innovators and creative researchers from the animation, games and visual effects industries for four days in Stuttgart. FMX has quickly become the largest conference of its kind in Europe that reunites the industry annually to discuss the most important issues. FMX invites artists, industry leaders and decision makers to speak in the conference about the latest trends and innovative approaches featured in the year’s most influential movies, games and transmedia.”
I’m so stoked we’re doing two talks at FMX this year! It’s such an incredible venue, and such a pleasure to be taking part. The last time I was there was to give a talk on Charlotte’s Web. If you’re gonna be around FMX2012, find me around the conference or drop me a line and let’s arrange to chat.
The second talk is about what we’re doing here at VisPop and how it pertains to the vfx industry. A link is HERE. I’m just gonna get into the state of the union of vfx, and how we’re taking our knowledge in the industry and apply our experience into the entire filmmaking business. Now that we’re into our second year, I’ll discuss how it’s going and what we’re learning!
Here’s the details:
The state of the union in Visual Effects is well documented. You can read many articles about vfx becoming a commoditized industry on the web. Hard work, unfair conditions, low cost of entry, to unionize or not to unionize , pressure from clients in an industry with very few buyers, vendors undercutting each other and on and on. We at VisPop spent many years on the front lines, in all roles on the vfx vendor side. We fought just like everyone else to make ends meet in a low margin ball game. Sometimes we were successful, sometimes we weren’t, just like everyone else. We learned from our mistakes, we implemented processes, we got better, and we eaked out our living/existence!
So what makes VisPop different? We’re broadening our scope outside of traditional vfx. We’re teaming with independent filmmakers to push the innovation of the entire filmmaking process. We want to change the perception of where vfx and spectacle fits in the filmmaking process and parlay that into leverage in our filmmaking negotiations. We’re using our vfx backgrounds to co-produce low-med budget high spectacle films.
So can VisPop make a difference? Can a couple of long-timers from the vfx industry change the way films are financed, made, even distributed? Hopefully we can help get things rolling. If we can get more talented people from the vfx industry believing they can be involved in the entire filmmaking process then we’ll consider that a success. So just ask yourself: “are you a film-maker or a shot-maker?”