![]() ![]() How did your interest in 3-D modelling and digital composition arise? Did you always want to work in this or did your experience bring you to the sector? In actual fact, what we often do to check that everything works right is to have an image of what your character is based on, whether an animal or a person, together with the digital creation, and the objective is for it to be difficult to recognize which is the real one and which is the digital one. But on other occasions, for example, such as when you create digital doubles, you have photos of the actor from all angles, and as a groomer you have to copy exactly the same look as in the photograph. Then you can begin to make creative decisions such as, for example, whether the hair is coarser, thicker, longer, etc., depending on the look that you want to give it. Even when you create characters like Sonic, you always look at real references of animals, etc. What creative process do you follow when doing modelling or doing the Groom for a character?īoth when modelling and when creating a Groom, everything is based on real references. On the other hand, as a Groom, you only define the hair. Modelling is based on creating and defining the shape of the object, without textures, without hair, etc. What differences are there between your work as a Groom and what you do concerning 3-D modelling? In this role I ensure that all the elements of a shot, coming from all the rest of the departments, go together correctly. Apart from Groom, I’m also in charge of the Finalling department, which is quite specific to animation companies. In Jellyfish, I have obviously gone one step further, becoming Groom Lead. And when I moved to big companies, like MPC and Double Negative, I was already hired as a Groom Artist. ![]() However, from then on, I liked Grooming so much that I decided to focus my career on this specialization. Indeed, I began working in VFX as a modeller, creating the digital characters and objects of films, and in one of the companies where I was working they needed a Groom Artist, and they offered me the possibility of combining the two roles. In smaller companies, the same person may end up having more than one role. For example, someone who does lighting only lights the shots created digitally, and the Texture Artist only creates textures, for example deciding on the colour of the hair. In the VFX (visual effects) industry in the United Kingdom, above all in very big companies, the roles are highly specialized because, in order to achieve the level of realism desired, they need experts in each branch. Why did you choose this area in which you work a lot with the hair of the characters? As Groom Lead, I lead the Groom department in the project and I am in charge of ensuring that all the (hair) grooms are very well made and of helping the rest of the Groom Artists to improve theirs. In Jellyfish, I am now completing an animated film in which I create the hair and fur for many characters. For animals, for example, I made the fur for the gorilla and the polar bear in the last Dolittle film, and for fictitious creatures, for example, in Sonic. For example, when there is an action scene in Fast & Furious 9 in which the actor is replaced with a digital double because it is too dangerous, as groomers we create their hair, beard, eyebrows, etc. We are specialized in creating both the fur for animals or fictitious creatures and the hair for the digital doubles of actors. Grooming is the digital creation of hair. Can you tell us what a Groom Lead or Groom TD is and what your work consists of? Just my thoughts on this part, but I'll keep on looking to try and find any evidence in this regard.You work as Groom Lead for Jellyfish Pictures. That explains the 'falcon' part as for the 'Millennium' part of the name, I suspect (note that I don't have any evidence for this, but I think it's a reasonable speculation) that it was named so because 'Millennium' sounded futuristic consider when Star Wars was released - it wasn't too far from the turn of the millennium, but far away enough to make it seem very futuristic. ![]() Just to note, in the above quote, Wookieepedia explains that 'he' is Zenn Bien who had stolen it, however this source makes it sound like it was Quip Fargil who rechristened it the Millennium Falcon, but also agrees it was after a 'bat falcon'.Ī swift species of flying creatures. Rechristened her the Millennium Falcon, after the bat-falcon This operation, but when he began flying the ship for the Alliance, he The Second Chance was briefly rechristened the Gone to Pieces during ![]() The important part on that page is the below quote: The Millennium Falcon has a long history, explained on Wookieepedia and I would strongly encourage you to read it here. ![]()
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