We were initially brought on to define the look of the Sacred Timeline. Tell us about the scope of the VFX sequences Cantina provided for Loki.
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We also contributed design and VFX for the recently released Free Guy and The Suicide Squad. Can you name some recent work?īeyond Loki, we also worked on WandaVision and The Falcon and the Winter Soldier for Marvel. I prefer to be outdoors if I can be.Ĭantina has worked on many projects in the Marvel Cinematic Universe. Most definitely some combination of landscape designing and beekeeping. If you didn’t have this job, what would you be doing instead? I also really enjoy getting into the weeds of a project, whether that’s helping establish a backstory to an idea, or character or figuring out the science of a futuristic device. Constantly learning from the talented artists and staff at Cantina. I had the best time, made some lifelong friends and, most importantly, met my wife there. Yep, after attending Middlesex University in London I moved to LA to attend CalArts and received an MFA in experimental animation. In later years, mostly at CalArts, it was Frederic Back’s The Man Who Planted Trees, Mark Baker’s The Hill Farm, Yuri Norstein’s The Hedgehog in the Fog and more recently Michael Dudok de Wit’s The Red Turtle. Too many to really do this justice, but there were four movies as a child that really affected me: a re-release of Disney’s Peter Pan, the original Watership Down, Jason and the Argonauts (especially the skeleton fight) and of course Star Wars Episode IV. Boundaries have blurred somewhat, and it’s a struggle to redefine them.ĭid a particular film inspire you along this path in entertainment?
It’s one of the downsides to being able to log on and check renders or touch up a comp or design at any time of the day. Ironically, I feel we now work more hours than we did before COVID. It’s also afforded us time to spend with our families, which is always good. We still work with the same security protocols to protect our clients’ IP, but it has given us the opportunity to work with artists from around the world - something we couldn’t really do before. Working remotely has been a refreshing change, to be quite honest. How has Cantina responded to the changes affecting the VFX industry due to COVID? After a few films ( Terminator Salvation, Avatar, Iron Man 2) we branched out and started Cantina. I had met Sean Cushing on Sky Captain and he asked me to come on board at PLF (Pixel Liberation Front) as creative director. I then had a stint at The Picture Mill as a title designer/animator, a digital effects supervisor on Sky Captain and the World of Tomorrow and other similar roles on Superman Returns, The Departed, Speed Racer and Shutter Island. I started in traditional animation at Klasky Csupo on Aaahh!!! Real Monsters as a background designer and then with Duck Soup as a storyboard artist and commercial director. I’ve been working in the entertainment industry since 1994. How long have you been working in VFX and in what kind of roles? I’m constantly bidding and scheduling projects - not the most glamorous part of the job. Whether that’s managing client expectations, artist and project communication, and day-to-day design and shot organization.
The amount of management the job requires. What would surprise people the most about being a CD ?
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