![]() After the turn of the millennium, I joined a commercial film production company as a VFX artist and supervisor, which quickly led to directing my first commercial. After first directing dozens of commercials and music videos and then my first short film, I started advertising my work abroad. ![]() Stoked about what I could do with Henry, I ended up working as a VFX artist on hundreds of TV commercials, music videos and feature films over the following six years, cutting my teeth on the film industry. I was a fan of movies like The Abyss, Terminator 2: Judgment Day and Jurassic Park, which all utilized this new technology, so I was intrigued and accepted my uncle’s offer. Using digital effects in filmmaking was an emerging field at the time, and Factory had just bought Quantel’s Henry, the first digital multilayer compositing system. Tim, if you’re reading this, thanks!Įventually, I returned to Finland, and my uncle, a partner at post-production company Factory Post, offered me an apprenticeship with one of the company’s top visual effects (VFX) artists. I ended up sharing an office with Sweeney for a couple of months while designing graphics for Epic Pinball, which was a success and a great experience. He had seen our demos and offered me a job I enthusiastically accepted. I got recruited by Tim Sweeney, the chief executive officer and founder of videogame production company Epic Games. At the time, the internet and email were nascent, so I saved my graphics onto a diskette and-accompanied by a handwritten letter-mailed them to these companies explaining my talents.įortunately, the game developers in the United States followed the demoscene because there was a lot of talent there. So, I reached out to computer game companies in the United States looking for more inspiring work. ![]() What caused you to pivot into creating visual effects and eventually led you to work as a director in advertising? After succeeding with Future Crew, I was seventeen but failing in school and working odd jobs. We worked together as a team to create an audiovisual piece of art we would then show to the world-a great initiation into the collaborative nature of filmmaking. There was a lot of camaraderie, and I now realize that what we did back then was quite similar to filmmaking. Samples of Misko Iho’s work with Future Crew.
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