Tom Connors is a VFX supervisor at Santa Monica-based AFX Creative, a studio providing post services for the advertising and entertainment industries. Its offerings include VFX, motion design, finishing and color grading.
We recently spoke with Connors to find out more about his work.
Can you talk about what being a VFX supervisor entails?
As a VFX supervisor, I’m responsible for the design and execution of visual effects work on a given project. I’m also responsible for management of the artists who work on those projects. I’m reminded of the quote “See a need, fill a need” from the movie Robots.
What would surprise people the most about what falls under that title?
Leadership and mentoring is very important for a VFX supervisor. Using my skills as an artist to influence and guide other artists to create visual effects is something that was a surprise when I started out in a supervisor role.
How long have you been working in VFX and in what kind of roles?
I’ve been working in the industry for 18 years. During my career, I’ve held a handful of roles. I began as a tracking artist and then grew into a lead generalist. Once I had several years of experience as a lead, I moved into being a CG supervisor. That is where I learned my leadership skills to manage a larger team. And in time I moved into a VFX supervisor role.
Facebook Metaverse
How has the VFX industry changed in the time you’ve been working? What’s been good? What’s been bad?
I don’t look at the changes in our industry as good or bad, rather as opportunities for growth. The VFX industry is always evolving as new technology emerges. With changes in technology, we can further refine the visual effects production process.
Software improvements provide us with new tools, making the production process easier and more efficient. These improvements come with a cost. This means we must continually be learning how to implement these new tools into our pipelines and training employees.
How has the VFX industry been affected by the pandemic?
The pandemic shifted our workplace environment from the corporate office to the home office like so many other pros. At the outset of the pandemic, we faced technical issues relating to equipment, connectivity and workflow. Through collective innovation and resourcefulness, we were able to overcome those obstacles. We experienced a significant change in communication. Instead of walking down the hall to discuss something or meeting in the company conference room, we now use Zoom for remote meetings and Slack to relay information.
GMC
Why do you like being on-set for shots? What are the benefits? And how has that changed during COVID?
As a creative problem-solver, I enjoy being on-set because you can make creative changes in real time as opposed to adjusting on the computer afterward. When working on-set, it is important to see a shot in your head and have the skills to articulate it to others, like the director or the DP.
The core principles of being on-set are still the same but the way we communicate has changed due to COVID restrictions.
Did a particular film inspire you along this path in entertainment?
I come from a creative family. I would practice drawing every day and learn different techniques from my older brothers. When I wasn’t drawing, I was watching animated Disney movies. I watched The Rescuers Down Under as a kid and thought to myself, “One day I want to be an animator.” What I didn’t know was that this decision would lead me on a path to becoming a 3D artist instead of a 2D animator.
Did you go to study this in school?
I went to the Art Institute of Los Angeles and received an associate’s degree in media arts and animation.
GMC
What’s your favorite part of the job?
My favorite part is working collaboratively as a team. I find artists are more motivated and committed to a project when I am working side by side with them. Working on the box is also a favorite part of the job; being able to bring someone’s vision to life is incredible.
If you didn’t have this job, what would you be doing instead?
I would become a woodworker. The creative process of designing and building wood projects is gratifying. Woodworking allows me to contribute to the beauty within our home.
Can you name some recent work?
There have been a few notable campaigns that AFX has produced in the past year. The GMC Centerpiece and the Facebook Metaverse projects are two. Both of those projects had significant challenges technically and creatively.
The GMC Centerpiece project had effects that required vehicles to dissolve into one another as they were spinning around on a platform. In order to achieve this dynamic and creative storytelling for GMC’s new line of vehicles, we developed a workflow that used CAD data and particles.
Facebook Metaverse
The Facebook Metaverse project took place on an LED volume stage. Creating digital environments to showcase on an LED volume requires a unique skillset that includes both creating CG assets and implementing the Unreal workflow. The LED/Unreal workflow is a fairly new and innovative production process. Seeing everything from inception to completion unfold during filming was pretty amazing.
What tools do you use day to day?
My core tools are 3ds Max, Maya, Substance Painter and Nuke.
Where do you find inspiration now?
I find inspiration by changing my environment — if that means going outside, working in my garage or just leaving my desk. I also enjoy learning new software. It helps to keep me ahead of the technological curve. I also enjoy watching films in the evening when I have finished working.
Finally, what do you do to de-stress from it all?
Spending time with my wife helps me to decompress in life. She has been very supportive throughout my career in the VFX industry.
When I’m outdoors doing something active it brings me a sense of peace and clarity. It can be as simple as a walk down the street or going hiking in the hills. Living an active lifestyle is key to improving your mental health.
