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MICHAEL

VODDEN

My name is Michael Vodden. I'm an aspiring Compositor looking for an opportunity to start my career in the visual effects industry. Between directing March of the Potguins, acting as the Lead Compositor on independent film Persistence (directed by Leo DeHaan), and producing The Lost City of Aztlan, I feel I have a lot to offer the industry. Invisible effects in photorealistic productions are a real fascination of mine and I'd love the chance to help bring them to life. Outside of work, I love to spend time on photography, drawing, and LGBTQ media.

SHOWREEL

GET TO KNOW MICHAEL

WHAT IS YOUR DREAM JOB TO START YOUR CAREER WITH?

Runner, Prep/Roto Artist, or Junior Compositor.

DESCRIBE YOURSELF IN FIVE WORDS OR LESS.

Adaptable, Reliable, Inventive, Enthusiastic, Conscientious.

IF YOU WERE AN ANIMAL, WHICH ONE WOULD YOU BE? AND WHY?

I would be a Siberian Husky! They're intelligent, hard-working animals. They are brilliant at adapting to any environment and focusing on the task at hand. Huskies are social by nature and thrive in teams. When they're not working, they make great company.

TELL US AN ACHIEVEMENT YOU'RE PROUD OF.

I was quickly promoted to Lead Compositor while working on Persistence, an independent short film, alongside my third-year studies. I delivered 21 complex shots, managed seven people, and worked with a supervisor and the director. I finished 11 shots started by other artists at the director's request.

DESCRIBE A CHALLENGE THAT YOU HAD TO OVERCOME IN YOUR GROUP PROJECTS.

In my final second-year team project, we presented our concept to the class, and it was incoherent and uninspiring. Our original leader was a natural fit and I was able to coordinate and unite our team and concept. Next week, we presented well and were considered top of the class.

WHICH MOVIE INSPIRED YOU THE MOST TO CHOOSE THIS

CAREER PATH?

The Matrix was foundational in my love for film. I've always loved sci-fi dystopia but had a fascination for it as a kid. The world-building is superb and brought to life by the visual effects. Bullet time was a revolutionary application of effects and like nothing I'd ever seen before.

DESCRIBE YOUR FAVORITE VFX SEQUENCE.

It has to be the reveal of the damaged reactor near the end of Chernobyl's first episode. The raw dread you feel as the camera moves to reveal smoke pouring out of the rubble of the roof is unmatched in historical drama. It masterfully supports the awe, gravity, and abject horror of the situation without feeling remotely contrived. There's an exceptional level of craft in accurately modelling exact replicas of the power plant and spending months on the smoke simulations. The visual effects in Chernobyl allow the show to take the audience to places they couldn't have otherwise seen.

WHY DO YOU DESERVE A GREATER SHARE OF SPACE IN THE YEAR BOOK?

"I look too good not to be seen." - Elektra Abundance, Pose, S1 E1.

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