'40 Nights' VFX supervisor works toward 'seamless realism'
In the world of computer-generated animations and models, there is one fundamental aspect that every artist seeks to accomplish – 'seamless realism' to the world the audience is in.
The 26-year-old, whose business, Vroman Arts of Owosso, Mich., is putting its first major VFX stamp on a feature film. “It's no different than long ago when sculptors would take a block of stone and chisel away until something captivating and inspiring arose,” said Vroman. “Except now, our tools are a little better,” he adds smiling.
During the physically demanding '40 Nights' shoot in the desert of Yuma, Ariz. in March, Vroman was at a distinct advantage for doing VFX because he doubled as the location sound mixer.
“Sure it helped, it was huge,” said Vroman. “I was on-set every day and was hands-on with every set up that would require my abilities after we got back to Michigan. The shoot was a challenge because of the heat, what the desert presented (wind, sand, treacherous terrain, awareness of snakes, spiders and other critters, planes, trains and automobiles)
DJ Perry, CDI's Chief Executive Officer (who also plays Jesus in '40 Nights') said Vroman already has limited work with the company. “Mr. Vroman (Brian) has worked computer FX on a few CDI- associated films such as WASTELAND and BESTSELLER. We're proud to have him supervising VFX on '40 Nights' and we look forward to a continued relationship with Vroman Arts.”
Despite his youth, Vroman is multi-talented and experienced. He offers a long list of services, accomplishments and capabilities. Everything from video capture, lighting, crane operation, voice over talent and DVD creation (linking/motion/
“I pride myself in not only learning, growing and honing my skills as an artist on my own, but I love referencing and blending today's movies and tutorials in with what I can learn from others,” explains Vroman. “My goal is to grow exponentially as an artist by using this template of resources. And that leads to every artist's goal in this craft, to leave the audience unknowing of what was 'real' and what was 'VFX.' ”
In 'Vroman's VFX World,' as in '40 Nights,' where he says “the only limit to creativity is the effectiveness of the machine one is working with,” the audience will likely ask itself more than once - “is that VFX or did they film scenes outside of Yuma? Maybe in Malta? Or Jerusalem?”
Better yet, and the end game of VFX, is that the audience will be so engrossed in the story, all elements will flow 'seamlessly.'
Collective Development Inc.