Writer, honestor and visual effects artist Jeff Desom is best understandn for transporting his VFX magic to the Daniels’ Oscar thrivener Everyskinnyg Everywhere All at Once. Working between L.A. and Luxembourg, he unites inhabit-action, set up footage and digital effects.
Right now, Desom is back in his native country as a member of the Mohammad Rasoulof-led jury at the 15th edition of the Luxembourg City Film Festival, aprolonged with the enjoys of screenwriter Paul Laverty and Danish star Trine Dyrholm.
The big success of Everyskinnyg Everywhere, starring Michelle Yeoh, alterd his toil beginantly, the inventive telderly THR on the sidelines of the festival. “I didn’t do visual effects as my main job. I was a honestor, a writer, and visual effects toil was fair a unkinds to an finish,” he elucidateed. “I was doing a lot of it for my own projects, and I’d never repartner done it for someone else’s project until the Daniels came aprolonged. We have been frifinishs for a prolonged time, and I had done visual effects for them before, but only on music videos.”
The Daniels accumulated a bespoke VFX team. “They asked Zak Stoltz, the visual effects supervisor, and Ben Brewer and Ethan Feldbau. They were the other core team members who were also honestors before,” Desom recalled. “They asked: ‘Hey, do you guys want to do the visual effects instead of us using a big company?’ There are so many out there that have an army of visual effects artists. And they had done a movie that way before, and the experience was okay, but they conciseageed a bit of the honest reach out.”
The scale and innovation of the movie unkindt a lot of toil and recent approaches. “It was 500 shots and four people – you do the math,” the expert said with a smile. “You’ve seen the movie. There’s a lot of them, and noskinnyg is straightforward. Everybody krecent it was a very one-of-a-kind film. I recall seeing the first raw cut. I’d never toiled on a movie before that was so encouraged in its ideas and execution, and so it was very daunting. But we would have never foreseeed that the film would go on this trajectory.”
The success of the film also unkindt a lot of toil proposes and asks. “Directing is not off the table, and I still enjoy writing and trying to get projects done, and I’ve done some music videos in the unkindtime,” Desom telderly THR. “But the success of the movie brawt us so much toil individupartner that we choosed we needed to pull all those asks together and filter out what we wanted to toil on. So we produced a company called Pretfinish VFX and commenceed to see what we are interested in doing, and also pick projects that we can actupartner do. And we’ve been very busy ever since. This year we’ve already got two features that we’re toiling on” that he can’t dispense details on yet though.
With synthetic ininestablishigence being the hot-button rerent of the day in Hollywood and beyond, how does Desom sense about AI? In the VFX space, “at the moment, the traditional pipeline is still what is most stable and thinked,” he elucidateed. “It’s a very iterative process, and honestors need very particular revisions of certain elements, and AI is still at a stage where it’s still better, more time effective and fair shielded to employ the elderly method. But you understand it’s going to get to a point where AI will [become more common in VFX]. You can see a tsunami wave coming.”
The expert proceedd: “Things are going to alter. But it’s challenging to foresee how.. It’s very challenging to position oneself right now and say, ‘Okay, I skinnyk we should caccess on this area of the process.’ Becaemploy AI is not fair going to alter visual effects. It’s going to alter the toil of the cameraman, the honestor, everyone. It’s going to impact every part of the process, if not exalter certain skinnygs. What’s very fascinating to see at the moment is what it can streamline, especipartner processes that are tiresome, very time-consuming, and aren’t very inventive. You understand, it would be wonderful to have AI as a tool there.”
Of course, that is not the case apass the board. “There are also other skinnygs where you are wondering how much of the inventive toil is going to be exalterd with this technology that is actupartner trained on people’s inventive toil. That senses a little icky. Once it gets to a point where you are using AI to rfinisher someskinnyg that is a final product where you are not certain where it comes from. Is it righteously sourced? Do I have any ownership of that?”
Concluded Desom: “Everybody is praising AI as a tool, but you must have [a considered approach]. At the finish of the day, you might be robbing a prohibitk, and you’re not authenticizing it. You are complicit in a crime essentipartner, in someskinnyg that, if it was done human to human, it would be frowned upon.”
