2013 © LIONGATE FILMS | ENDER’S GAME
2011 © WARNER BROS. PICTURES | SUCKER PUNCH
WHAT
MAKES
A GOOD
EFFECTS
TECHNICAL
DIRECTOR
(FX TD)?
a glimpse into the role
of fx technical director ;
a fascinating merger of art ,
science , and ingenuity in
modern filmmaking .
BY ANDREW LOWELL
2011 © PARAMOUNT PICTURES | TRANSFORMERS: DARK SIDE OF THE MOON
a n d r e w low e l l i s a n
experienced effects
t e c h n i c a l d i r e c to r .
He has created effects
on many projects in both
feature film and television;
at various visual effects
studios around the world
such as Rhythm and Hues,
CIS Vancouver, Animal
Logic, and Digital Domain.
Training, education, and writing are some of Andrew’s
long standing passions, as he also performs on-site
training for both students and professionals worldwide.
He resides as the program chair and instructor for the FX
department at Lost Boys School of Visual Effects.
THE MASTERY
OF MOTION
making feature film fx is all about
understanding and controlling the visual
motion of the element .
THE ABILITY TO VISUALLY ANALYSE
THE PROGRESSION OF AN EFFECT
IS CRUCIAL FOR THE FX TD. EFFECTS
SUCH AS TIDAL WAVES, DRAGON
FIRE, OR A SNOWSTORM CAN BOTH
PROGRESS THE PLOT OF THE MOVIE
AND ADD EXCITEMENT FOR THE
AUDIENCE. THESE PHENOMENA
HAVE THE UNIQUE ABILITY TO
TRANSPORT AUDIENCES DEEPER
INTO A MOVIE AND WITNESS SCENES
THAT ARE IMPOSSIBLE TO SHOOT
USING CONVENTIONAL METHODS.
FX TD’s are similar to scientists in their attempts to understand and recreate natural phenomenon. Many potential
candidates shy away from this discipline because of it’s rumored dependence on math and physics. In truth, if
FX TD’s were in the business of physics, the job would be much more straightforward. Whatever an accurate
simulation produced would be the end result.
On the front lines of a movie production, FX TD’s are in the business of making movies look amazing. This is
markedly different than scientific research. They must take in animated characters, machines, different set-layouts
(both natural or man made structures) and produce movie magic. They may need to bend or break the rules of
physics in the name of what looks good. They may need to occasionally follow notes given by the director, or
make nature work differently depending on a mutant’s special powers.
An FX TD will constantly assess the motion and flow of an effect. Does this move right? Does this destruction feel
like it has the appropriate weight? Are these pieces flying too slow or too fast? Do they spin too much? Is this
water too placid or too turbulent? Is this snowfall too jittery?
A good FX TD will contemplate every possible scenario of how an effect could progress, then make attempts to
master the inner workings of it’s motion and achieve satisfactory results. This mastery of motion will consistently
wow supervisors, the director, and the movie audience.
| AN EYE FOR MOTION
WHAT MAKES A GOOD FX TD? | 7
8 | WHAT MAKES A GOOD FX TD?
2015 © LOST BOYS | SCHOOL OF VISUAL EFFECTS
| THE BLEEDING EDGE TECHNOLOGY
I’VE SEEN AND WORKED WITH MANY GREAT FX TD’S, BUT I’VE YET TO MEET SOMEONE WHO COULD BE
CONSIDERED NATURALLY GIFTED IN THIS AREA. NO AMOUNT OF NATURAL TALENT CAN PREPARE SOMEONE
FOR THE LEARNING CURVE AND NEEDED EXPERIENCE ASSOCIATED WITH THIS JOB.
NEXT STEPS
FURTHER STUDY
study nature
Cameras able to capture slow
motion, high quality video are as
common as the latest smart phone,
or sports camera. Use them! Taking
reference of natural phenomenon
is one of the best ways to get
started studying the visual imagery
of FX. Photograph fire, water, rock
patterns, wood fracturing, plant
growth, clouds, and any other
natural phenomenon that could
be an effect on a movie. Use both
large scale and small scale subject
matter. Study it, draw it, and if able,
try and reproduce it with digital
methods.
16 | WHAT MAKES A GOOD FX TD?
self learning
education
Seek out and explore as many
references for FX learning as
possible. There are many forums,
blogs, and articles which might
talk about FX or FX software
techniques. Learn about the people
doing these jobs, and what types
of 2D and 3D techniques they
use. Often professionals are very
forthright in talking about their
experience and methods.
It’s difficult to find dedicated
education in this area. This focus
is often considered advanced
or a later stage in learning 3D
generalism. My personal opinion
is that it’s important to seek out
learning which could complement
this area of focus. Make sure the
educational institution you choose
is able to accommodate this focus.
2015 © LOST BOYS | SCHOOL OF VISUAL EFFECTS