Exploring the art of cosmology VFX with Creative Lead Mike Sadd
Creative Lead Mike Sadd has been a part of Lux Aeterna for the past eleven years working on some of our most ambitious projects to date including Our Universe, 8 Days to the Moon and Back, The Crown and many more.
A talented artist with a keen interest in cosmology and space, he is perfectly placed to help turn scientific fact into spellbinding spectacle. We spoke to Mike to learn more about his interest in cosmology and how he utilises this in his work here at Lux Aeterna.
My fascination with cosmology traces back to a childhood immersed in science and science fiction. Early exposure to TV shows like ‘Horizon’ and the breathtaking imagery from the Hubble Space Telescope ignited a curiosity that continues to drive my passion today. As a sci-fi enthusiast, I found myself captivated by the allure of distant worlds, advanced technology, and the intricate artistry behind special effects. Before the era of DVDs and YouTube, my exploration of these topics relied on children's science books and occasional TV documentaries, laying the groundwork for what would become a lifelong pursuit.
The launch of projects like the Hubble Space Telescope and subsequent missions such as Juno, Cassini, and New Horizons further fuelled my fascination. Witnessing the unveiling of distant phenomena through these missions stirred a sense of wonder that inspired me to delve deeper into the mysteries of the cosmos.
My first significant venture into cosmology projects came with ‘Wonders of the Universe’ alongside Brian Cox, marking a pivotal moment in my career. Collaborating closely with the production team, we embarked on a mission to bring cosmic wonders to life on screen. Despite the constraints of a modest budget, we pushed the boundaries of visual storytelling by integrating macro photography into CGI workflows. This ambitious approach not only challenged us creatively but also laid the foundation for future projects, shaping our mindset and approach to visual effects.
Approaching cosmology projects requires a meticulous blend of research, creativity, and technical expertise. Delving into the intricacies of scientific concepts, we collaborate with science advisors and directors to ensure accuracy while weaving a compelling narrative. Storyboarding and concept art plays a crucial role in refining initial ideas and guiding the visual journey from concept to realisation.
In the realm of visual effects tools, versatility is key. Whether harnessing the power of Maya, Houdini or After Effects, each project presents unique challenges that demand tailored solutions. From Hollywood blockbusters to intimate documentaries, we adapt our approach to suit the project's tone and narrative requirements.
Our recent sequence for ‘The Crown’ was a real rollercoaster of Hollywood CGI. Heavy use of immersive Maya and Houdini simulations, glitzy comp work in Nuke, and that exactly fitted the bill.
At about the same time, we were involved with ‘First Contact’, a one off science documentary about the hunt for extraterrestrial life, interwoven with dramatised scenes of a near future event involving a passing alien artefact. It was tonally very different and so we approached the project with a more analog, almost nostalgic feel that fitted the timeless and meditative mood of the overall film. We used Maya and 3DSMax, but discreetly and did things like projecting typography through distorted glass and re-filming them to create unique effects. Using images of rocks as textures for the fleetingly seen alien artefact and footage of chemical reactions as elements for nebulae created in After Effects.
Despite the technical complexities inherent in creating cosmology VFX, it’s the moments of validation that make the journey worthwhile. Interactions with industry icons like Brian Cox serve as reminders of the impact of our work. Additionally, receiving praise from researchers and witnessing our visuals inspire others really hits home the reach of our work.
In need of support with cosmology VFX? Don’t hesitate to get in touch