Edwina Ting is a senior animator at Weta Digital, the Wellington, New Zealand-based VFX studio behind such blockbusters as The Lord of the Rings and The Planet of the Apes franchises. In addition to visual effects, Weta also provides realistic integrated character performances in a film environment.
In explaining her role, Ting says that “in the animation department, we work with the animation supervisor to translate our client’s ideas to screen. We deal with the character or creature’s overall acting, any necessary props and sometimes with cameras when solidifying the performance. Sometimes we work with motion capture, and other times we start from scratch and record our own performance. Animation is roughly in the middle of the movie sandwich, with the digital fabrication of the characters and the effects/destruction/lighting/compositing as the slices of bread on either side.”
She says that what surprised her the most about her job was the level of extroversion required. “As a junior animator, it’s typically a one-way communication of receiving notes and executing them. As a senior, I push myself to be more extroverted — to talk to other animators, share tips, communicate when issues arise and physically act out animation reference. I’ve in no way become an extrovert, and I still need a quiet break after talking lots.”
We reached out to the not-yet-extroverted Ting to find out more…
How long have you been working in VFX, and in what kind of roles?
I’ve worked almost 11 years now at Weta in the animation department, from junior to senior, and as an animation lead for one show. Before that I worked on TV series and commercials for studios around Wellington, such as Weta Productions and Karactaz. Each role has its own pros and cons, but more important than what role you’re in, it’s whether you’re a team player and support those around you and have fun at the same time.
Godzilla vs. Kong. © 2021 WARNER BROS. ENT.
How has the VFX industry changed in the time you’ve been working?
The pace of life is picking up, and there is more demand for multiple series that come out every week at a rapid pace. This means there is more pressure to get the work out quickly with less time to think about the process, and often there isn’t a pause to celebrate finishing a show as the next one quickly comes upon you. However, some of the good things about having more VFX series coming out is that people who wouldn’t necessarily produce a big-budget film can express themselves in this new format. Also, we as artists get to explore this new range of characters and styles.
How has the VFX industry been affected by Covid?
I worked from home for almost a year when Covid started, and the flexibility of doing everyday life whilst working was refreshing and felt more balanced. The option to continue even doing partial days at home can be a life-changer, especially if you get a cold or need to look after family. I’m hoping the ability to work from home will also open up more opportunities overseas for everyone and potentially provide more stability for VFX industry jobs.
Did a particular film inspire you along this path in entertainment?
Initially, I wanted to get into animatronics after watching films like The Dark Crystal and The Labyrinth, but I wasn’t that great at science or math, which was necessary for that field. However, I still wanted to work with creatures and make them come to life, so I went into computer animation to act out my puppet dreams.
Did you go to film school?
I went to Massey University and studied visual communication design. However, at the time, the course was quite brief, and I actually learned a lot of the animation principles from working with the team on The Wotwots at Weta Productions.
What’s your favorite part of the job?
My favorite part of the job is tied between bringing creatures to life and working alongside the fun people in the animation department. You spend a lot of your life at work making films, so it’s important to have a good time with the people you’re working with.
If you didn’t have this job, what would you be doing instead?
Something that involved ninjas. Ninjas and sneaking up on people.
Godzilla vs. Kong. © 2021 WARNER BROS. ENT.
Can you name some recent work?
I’ve worked recently on Godzilla vs Kong, Rampage and on AJ the talking goldfish in Umbrella Academy 2.
What tools do you use day to day?
We use Maya for animation, and I use the Ctrl +Z buttons a lot. I’ve also made a few hotboxes that are now my bread and butter for all the custom scripts that they house. If you keep forgetting what hotkeys are assigned to what, try making a hotbox/marking menu instead! I also use Animbot and ATools. I love the Pull/Push slider, Quick Select Sets and the Time Bookmarks tool. It’s so handy and colorful.
Where do you find inspiration now?
I find inspiration in the people around me when I get the chance to view some of their work. I’m in awe of some of the crazy camera shots or how an animator has brought forth a creature’s particular expression. It would be great if I could stand invisible over people’s shoulders and watch them create their work. Inspiring work I’ve seen recently is some of the other vendors work in Godzilla vs Kong, where they are fighting on the boats. Giant monsters fighting is always really fun!
What do you do to de-stress from it all?
Sitting in the sun and doing nothing at all. There’s always something to do whether it’s work, chores or even a hobby. Allowing myself to do nothing at all is very relaxing, and people should not feel guilty about doing it when they need to!
