[FRAMED] Compositing Supervisor, Darcy George, Melbourne
If you could travel back in time, which film, TV series, advert, or immersive project would you love to have worked on?
Blade Runner 2049. Not only am I a fan of the films and source material — But the work on that film was truly inspirational. How photographic everything looked, it felt like it was all shot on location with seamless visual effects you would never know were there.
Which Framestore character do you feel you’re most like?
Maybe Pooh?! I can relate to his laid-back nature and his pleasure in the simple things of life.
What fictional world or place would you like to visit?
For me, it has to be the world of Harry Potter, particularly Hogwarts. I remember watching the first movie in the cinema and wanting nothing more than to get a letter to Hogwarts.
Your career highlight to date:
I’ve been incredibly fortunate to have had so many opportunities in my career so far and to work with such talented people at the Melbourne studio. Recently, I had the chance to speak about our work on Mad Max: Furiosa in China and South Korea for The Foundry. I shared insights into the compositing work we did on the project, discussed the challenges we faced, and also got a glimpse into the local industry while experiencing their unique cultures.
Who or what inspired you to pursue a career in VFX?
I originally wanted to be a cinematographer and went to film school to study it. While making short films, I started using After Effects more and, like many compositors, learned a lot from ‘Video Copilot’ and Andrew Kramer. As I added more VFX to my projects, my interest grew, eventually leading me to switch my major to VFX and pursue a career in it.
The DREAM project would entail:
I really enjoy working on invisible VFX — the ultimate achievement of our craft is when no one realizes we did anything at all. Fooling an audience into believing something is completely real and seamlessly blending practical elements with CG is what excites me the most. Any project where this plays a major role would be an ideal one for me.
How do you explain what you do to someone who doesn’t work in VFX?
‘It’s like Photoshop, but for movies’ is a classic one I like to use!
I often find people who don’t work in the industry think that we all work as animators, explaining that each discipline is separate and specialised and that the role of the Comper is to bring it all together and blend it seamlessly with the footage.
Describe your career journey into the exciting world of VFX.
I sort of mentioned it before — but I originally went to film school with the hope of becoming a cinematographer, as I’ve always had a passion for film and how cameras work. While at university, I dabbled in VFX to enhance my short films, and over time, my interest in it grew. Eventually, I decided to pursue it as a career. While in Adelaide, I joined RSP’s new training course, which gave me valuable industry experience. That led to an opportunity to work as a paint and roto artist at Iloura on TED 2 — and the rest is history.
What does a day in the life of a Compositing Supervisor look like?
Meetings, lots of meetings. I am relatively new to the role of a comp supe and find that it can change day to day, project to project — so the key is to be fluid within the role.
A typical day starts with checking emails and messages from clients or other studios that came in overnight. Then, I head into a series of morning meetings, usually beginning with a production meeting, followed by rounds or internal reviews with the team. After that, there’s usually some time before our morning comp review to answer questions, follow up on anything that came up earlier, or look into technical issues.
Once reviews are done, I touch base with artists to clarify notes and focus on turning things around for the afternoon. The second half of the day usually follows a similar pattern. My to-do list is always packed with various tasks, and I do my best to stay on top of it all.
Framestore is, to you, in three words:
Collaborative, Innovative, Friendly
Best thing about your work environment?
The people. Working with such talented artists — we are such a close-knit team — and being able to enjoy my time and have a laugh while working with them is such a blessing. Also, the coffee here is pretty great!
Framestore is great at:
Creating amazing lifelike visual effects!
Favorite artform?
I love to shoot on film. I have been getting more into it and really appreciate the limitations it poses and the challenges it brings. Being able to focus on composition and play around with different film stocks is fascinating.
Favorite image?
Right now?
Probably this one from my recent travels in Greece. Just looking at it reminds me of all the fun I had. Take me back!
What’s your favourite movie/ series/ advert/ immersive experience and why?
I am a huge Lord of the Rings nerd. So anything to do with the series (minus the hobbit films maybe) I am a huge fan of. I remember watching the films as a kid and then reading the books afterward, it’s such a dense world and so easy to lose yourself in.
What is the last piece of art that inspired you?
While in Korea we went to the National Museum. One of their installations was a room where they projected a series of 360 videos that told the story and birth of Buddhism. It was so amazing to sit in this space and learn about something I knew very little about while also marvelling at the creative and technical application of the content. The visuals they produced were amazing hand-drawn animations that blended seamlessly across the room. We spent an hour in this room just marvelling at the visuals.
How do you unlock your creativity?
I wish I knew! Inspiration often strikes when I least expect it. I’ve found that when I get too close to something, stepping away helps bring a fresh perspective. Taking a break allows creativity to flow again — and, of course, coffee helps too!
From where do you seek inspiration?
I find inspiration everywhere — most often in films and TV, so I try to consume as much as possible. But I also draw inspiration from other sources, like galleries and photography. Experiencing something new, something I haven’t seen before is often the easiest way to spark creativity.
Who in the industry do you admire most and why?
I don’t know if I can narrow it down to just one person. I’ve been incredibly lucky to work with so many talented people throughout my VFX journey. Each of them has taught me something valuable, taking time out of their busy days to help me — and for that, I’m deeply grateful!
Share the best piece of advice you’ve ever received:
‘Worry about the controllables.’
In both life and VFX, this is something I try to focus on and often struggle to do. There is no use stressing over things out of your control and you can only work on what is within your power and learn from the outcomes.
What tech/innovation could you not live without?
No doubt everyone says this, but my smartphone. The idea that we have such a powerful device sitting in our pockets is mind-boggling. Plus how else would I keep up my Wordle streak?!
What tech/innovation deserves the hype?
Machine Learning — It is a bit of a buzzword at the moment. But I truly think it’s going to change the way we work/live and it’s up to us to use it ethically and responsibly while also looking to extract the most from it. Some of the tools we are already implementing at Framestore are improving our work while also helping us be more efficient with our time.
What tech do you need that hasn’t been invented yet?
I’m sure this is also a common answer. But some sort of teleportation device so that I can visit friends and family across the globe.
Darcy George, you’ve been [FRAMED].
