One of the earliest memories I’ve had was rolling around on the floor (when I was 3 or 4, I think) and on tv there was an ad for these giant, four-legged robots in a snowfield. Did you always want to be an artist, as a kid? Or did you want to be a ninja?Ĭameron: I think everyone starts out wanting to be a ninja. It’s cool that you’re doing both ends of it. I didn’t realize you’ve done a lot of lighting. I’m primarily a Lead Compositor, but I’ve done other jobs, like lighting, in the past. I’m a visual effects artist who works at Weta currently. Cameron Smith’s Website: Allan: Cameron, do you mind introducing yourself?Ĭameron: Yes, I’m Cameron Smith.In this Episode, Cameron talks about his over a decade-long career as a visual effects artist, the benefits of programing, constantly learning new skills and the latest technology. Some of his projects include The Hobbit, Battleship, Furious 7, Man of Steel, Iron Man, King Kong, Avatar (for which he was nominated for a VES Award) and many more. Over the course of his over a decade-long career, Cameron has worked for studios like Cutting Edge VFX, Fuel VFX, ILM and Weta, serving as a Compositing Lead, Supervisor and a Lighting Technical Director.
He first began doing visual effects for tv commercials and short films. He first studied computer science at RMIT University in Melbourne, Australia before transitioning into programing and visual effects. Do check it out! It will be available for the next few weeks: If you want to sign up for my VIP Insiders List go to WETA’S COMPOSITING LEAD CAMERON SMITHĬameron Smith is an award-nominated visual effects artist who is also a Lead Compositor at Weta. I’m releasing some new training based on the feature film Venom.
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You can get this book for free right now! Whether you’re in design, film, tv or games, go to II.
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Tell you how to build a reel and put it up on YouTube - that brings studios to you!.Give you the formula to be the obvious candidate for the job.A lot of us aren’t aware that the majority of reels sent to a studio are skipped through and sometimes never even watched in the first place.Įverything we’re taught about being an artist is wrong! Over the past 20 years of working for studios like ILM, Blur Studio, Ubisoft, I’ve built hundreds of teams and hired hundreds of artists - and reviewed thousands of reels! That’s why I decided to write a book from the perspective of someone who actually does the hiring. Have you ever sent in your reel and wondered why you didn’t get the callback or what the reason was you didn’t get the job? Here is the thing: Most of us think that we can put our latest work on our reel, add some music - and get the job. Fifteen years is a long and successful career! Cameron shares his insight on how to achieve that. In this Episode, we backtrack through our careers a bit. I’m really excited about this one! Cameron is an old friend of mine. Welcome to Episode 165! I’m speaking to Cameron Smith, the Lead Compositor who has worked for ILM as well as other studios. Check out Upload The Productive Artist e-book.Įpisode 165 - Weta’s Compositing Lead Cameron Smith
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