Having worked as a 2D animator, fx artist, compositor and Pipeline Engineer in feature productions for more than fourteen years, Dushyant Kashyap has seen various chambers of the VFX landscape in his career.Currently working as a Pipeline Compositing TD at Cinesite Vancouver, Kashyap has collaborated with many Hollywood studios and worked on noted big-ticket projects like Dunkirk, Blade Runner 2049, Star Trek Beyond, Godzilla: King of the Monsters, Bohemian Rhapsody, Ant-Man and the Wasp, Pacific Rim: Uprising, Red Sparrow,Kingsman: The Secret Service, and Sin City: A Dame to Kill For, as well the Resident Evil: Extinction, Repo Men. His most recent work as a Pipeline Compositing TD includes Addams Family and several other upcoming feature productions. AnimationXpress caught up with Kashyap for a candid conversation on his journey and the VFX industry. Tell us about your journey as a Pipeline engineer.
It was one of the very unusual ways you can think of that I ended up being where I am now. The goal of my career, after finishing school, was to get into the colorful graphic designing industry where I, very soon, realized 3d animation is where the real fun is. But I had no idea how differently VFX and animation studios work, for a very long time. But luckily I ended up in a VFX studio very soon, when I was still a flash artist. I already had some idea how Aftereffects works and I was already automating things in Flash, so my Boss asked, do you know “what is a pipeline”? Being blunt as always, I was like, Nope. And that was the beginning. With time, my focus shifted slightly towards blasting and smoking up things as FX is one of the most technical processes of the animation/VFX pipeline. But those effects needed to look and feel nice and bright, right. So there were shows where I did a lot of environment painting, match-move, lighting and final compositing, learning everything on the job. And then there was a lot of compositing, so much so that I used to see roto-splines in my dreams. There, I thought that now I am a compositor, finally. But in the next few years I found myself struggling a lot between the idea of being an artist or the technical guy. And I lost my interview with Dreamworks Bangalore to that dilemma. Finally I ended up in Prime Focus where they minted my fx skills for shows like Immortals in the beginning but because they were going global and integration with technologies from the London office was imminent, I finally got a long term goal. With Prime Focus, I made a lot of trips to London which helped me see the global perspective of things. And how different we are as a culture are, even though we have been working for Hollywood flicks for such a long time. Now, everyone knows that Prime Focus is a workhorse, and it’s said that a year at Prime is the equivalent of five years anywhere else. That’s exhausting. Pipeline being itself is a multidisciplinary department, I decided to focus on Compositing Pipeline for sometime, and ended up at my current job. In the future I plan on shelling out my own software bundles to help artists and cg/vfx-shops. I am also keen on seeing my own stories on the big screen, someday. What sort of trends is the VFX ecosystem witnessing currently?
Trends have changed drastically. The last decade was disruptive, the industry right now is in a robust position. There’s been a tremendous growth in the quality and complexity of visual effects, as well as constant innovation in photo-realism. Then there are news on shops closing every now and then, but that’s largely due to the unorganized nature of business.
Tell us about any recent project that you worked on. Most recently I have worked as a Compositing Pipeline TD on Addams Family, it was a fun and relaxed show for me. And coming out of VFX it was the first time I was witnessing the production of the entire feature length movie at a single facility in a single stretch of time. And it did well at the box office. My part on the show was to support the daily functioning of the Compositing department from a technical perspective, solving any pipeline or compositing technical issues coming from the department, creating tools for automating tedious tasks or enabling better work practices. I also did a lot of workflow documentation and helped production to Tech QC the final deliveries. Does your background in compositing help in streamlining the VFX pipeline and workflow? A lot, because that’s where everything ends up being. My motto when I approach studios for work is “I have been an artist and I know how artists work, so the tools and procedures I design will resonate with you far more easily”. A programmer in the CGI/VFX/Animation industry is not your regular IT programmer making boring software. And most of the pipeliners I know have some experience in some department of the industry and with me it was the gradual progressive learning of the craft in one hand always keeping the code in another. We understand you are an active member of VES society. You’ve also been a jury member. (If I am correct) Share your thoughts on the recent nominations and the nature of VFX in the current times. The goal of the jury, which I was part of, was to select from the submissions the work that is good for nomination. Which will then be passed on to the entire VES community for the selection of the best works in respective categories. Essentially we were selecting a few best of the lot which will then be judged again to select the best of the best, if that makes sense. The process was transparent and unbiased and open to all qualified members who chose to and could make themselves available in selected global cities.
What are the issues that plague the VFX industry? Shortest schedules and still at the highest quality possible; how much work do you want to manage under one roof in a stretch? This is, I suppose, the main issue which branches off in other problems with time. It’s an incredibly competitive industry with extremely low margins. And there’s plenty I can talk about it and even if the problems in the industry are far from over, what’s for sure is that: visual effects have never been more in demand than they are today – and where there’s demand, there’s hope. Your VFX journey is inspiring. What advice would you give to budding artists? Take your time and make sure you know what you are doing. The schedule could be demanding, you might want to do something else but could end-up doing something else, but please don’t exit the industry to start a restaurant joint, leave that to engineers and MBA’s (no offence intended). This is an industry of passion, do your research and keep upgrading your skills, be smart and enjoy your efforts. And in this field, self learning is the best learning. How do you see the Indian VFX scenario?
Technically, VFX in India dates back to the silent era. We have come too far since then. Every major studio in the world wants to have it’s own direct presence in India, with partnership or on their own.
But for some reason, programmers from India are hired in plenty in international studios but R&D teams in India are still a novelty. Programmers are the last bunch of people a studio thinks about hiring early on. This has changed a lot in the last few years but there’s still a need of awareness that you need these guys and need to keep these guys. Education scenario has also improved over the years but university curriculums are not well paced and private institutes are still goto places for learning specialisations. Also, from the last couple of years the visual effects society (VES) has been a driving force in bringing VFX professionals in India together. With the help of veterans like Tim McGovern and N. Madhu Sudanan, people like Devrishi Chatterjee and Pankaj Verma have turned the tide. And India has its own VES section after decades of presence here with a handful of members, it’s a strong community now. Which is very healthy for the VFX ecosystem in India, coming together and sharing knowledge and expertise.