Rencontre Rémi Dupouy Réalisateur de documentaire Nat Geo Wild
30 mai 2018
[STUDIO CINEMA ISPRA]
13 décembre 2018
Portrait d’intervenant : Dario Siero Garcia Digital Composer
Dario Siero Garcia est un Digital Composer, il intervient dans nos cursus sur les modules de compositing, suite à l’enseignement du logiciel Nuke il vient apporter son expertise en compositing sur des projets concrets avec les étudiants.
Dario a travaillé sur Game Of Throne et à reçu à cet effet en 2016 un Visual Effect society Award, une récompense pour son travail sur les épisodes de Game of Thrones .
Real
Découvrez ici son real :
Interview
Nous avons réalisez un interview en anglais afin de mieux vous éclairer sur son travail .
As a VFX Supervisor you work on different kind of projects , Game of Thrones, Pirates of Somalia, can you explain us what is the real job of a vfx supervisor or digital composer ?
The work of the digital composer is quite varied. They tend to be jobs such as integrating CGI in the image, removing elements, replacing backgrounds or other elements… And of course, make all of those tasks look realistic. There are very varied tasks that, in addition, depends a lot on the project.
As for a composition supervisor, in addition to comp some shots, you must guide the rest of the compositors so that their shots looks just as the client wants. Not only is it to be aware of technical failures, but also to teach and help the rest of the team and know what instructions to give each one so that the shot looks exactly as it should, and consistent between the rest of the shots in the sequences.
Can you describe us some projects you work on , what you ve done on them ?
In the last few years I have worked as a mid-compositor in series such as Game of Thrones, in which my work was to integrate CGI creatures. For this we first removed the stunts that were in the shot with green suits and track marks and then replaced them with computer-made skeletons. We also changed the environment and added fx such as snow, smoke, etc.
During that period I also worked in spanish films such as Heroes Wanted and Zip & Zap 2, an adventure film based on children’s comic books from Spain. The main work of that film was the enviroments, since it was set in a fantastic island where science and magic coexisted, so we integrated lots of matte paintings, with cgi elements and with the originals shots.
More recently I have worked as a senior compositor in series for Movistar +, such as The Plague and The Zone. On The Zone I was also a compositing supervisor. It was a series of 8 episodes in which, in addition to the usual vfx in those productions, we had a nuclear power plant totally generated by computer, and a city which we had to look abandoned.
I also have experience as on-set supervisor on series such as The Cathedral of the Sea or Arde Madrid, and other films that are still in the post-production phase.
Are you present at the beginning of the production , are you on set when people are shooting the film ?
More recently, yes. In one of the last productions in which I have worked in Spain I have been able to be present in some meetings since the beginning of the production and during its filming on the set. Which has helped me to grow professionally, seeing all the stages of the production. The presence of the vfx team from the beginning is very important to make the filming and the post-production of shots with vfx well planned from the beginning, facilitating the work for all the departments.
Sometimes Vfx are here but no one can see them, can you tell us more about this part of you job ?
Personally, those are the vfx that I like the most. We all love composing impossible creatures and huge robots, but even if its perfectly done, the public will always know that it is impossible to be real. Therefore those effects in which you do something that could be there, are very rewarding, and also very difficult to do.
Generally they are everyday things that people see constantly and it is very easy that, if it is not well done, they feel that there is something strange.
They can be from elements in the shot to all their background. On one occasion we had to switch an actor’s performance between two different takes on the same shot, and he was interacting with other actors. We had to jump from one to another and then return to the previous one without it being noticed.
But they tend to be the best shots because when you say you have worked on a shot like that, the best they can say is: really? and what is not real there?
What kind of tip and tricks are you using to manage your team when you are working on a project ?
I’m not sure they’re tricks. What you really have to do is to know each person of the team, because the indications that you give to one person may not be useful for another.
The key is to know them and know what instructions you have to give to each one so that the shot results as it should be.
And of course, have enought experience and be able to tell them what you would do so that they also grow professionally and continue learning.
I think the best thing is to know what it is that they are best at, and strengthen it. And encourage them to use their professional background to approach the shot.
What is your usual workflow, Nuke ….?
The 90% of the time I stay in Nuke. Sometimes we use NukeStudio for specific tasks… Also for some cases I have to make something in Maya or Modo, a rotoscopy on Silhouette… But most of the time, in compositing, we try to have everything in nuke, so if the shot goes to other artist, he has everything there.
As compositing supervisor, in addition, I have usually worked with ftrack
What is the last thing you find on a software amazing and think it helps a lot in you job ?
In my case I think it’s to learn Python.
I am a computer engineer but since I entered the world of vfx I abandoned programming, and I didn’t know anything about python.
But since I saw what can be done I have been learning the basics of language and it really is something that multiplies the possibilities of our work and can save a lot of time.
What is your news ?
Recently I went to Vancouver to work on MPC. My plan is to stay there one year or two to learn new points of view, workflows, compositing tricks… And keep always keep learning.
Thank you Dario see you soon.