Meet The Team: Paul Greer
What has been your career journey to date?
I studied animation in the early nineties and after spending some time as an independent artist working in the Stokes Croft area of Bristol until I joined Lux Aeterna (then BDH) in 2000. I am now Senior CG Artist.
What does your typical day look like?
The day usually begins with a short dailies meeting for the project we are working on. As a team we review the previous day's work and assess the feedback that has come back from the client. Then we get on with the work. Generally, we begin with a previz stage, which entails blocking out the camera moves with very simple geometry so we can quickly generate different versions. This process helps the programme maker explore how the shot is going to work in their sequence and tell the story of the show. Once the previz stage is signed off and cleared, we then move forward to the more complex builds and visual effects, if necessary.
What has your progression been like since joining Lux Aeterna?
When I started at BDH, although well versed in film and animation, I had little experience in CGI and Maya wasn't being used in the company at the time, so it was a steep uphill learning curve when I began. After a few years I became Head of 3D, looking after jobs, running the render farm and experimenting with new software and techniques. I began using Houdini in 2017, which was a big shift in the process of the way we worked. Around 2021 we brought in the Shotgrid Production Management system. We soon began our transformation into a more specialised VFX company so my role shifted into Senior CG Artist. As well as delivering on the work, I am often testing the Pipeline with the IT team, and trying and experimenting with new ways of working, such as the new USD technology. The great thing about our line of work is that everything is constantly shifting and developing, so there is always something new to try and to learn about.
What’s your favourite project you have worked on during your time at lux Aeterna and why?
I have been here 24 years so there are a lot of projects to choose from. I have great memories of working on a show called "War of Words: The Soldier Poets of the Somme" which was broadcast around the Centenary of World War One. As well as producing all the graphics for the main part of the programme we had the task of illustrating the poetry. Although we had a limited budget the programme makers allowed us pretty much free rein creatively and we could really use the resources we had as efficiently as possible to produce as much as we could in the time we had. It was very intense and hard work but great fun and we were very pleased with the results.
Another job I loved was the title sequence to British Style Genius. We had the chance to mix old school stop motion photography with Maya CG to give the impression of a demonic sewing machine at work. It felt like a real collision of worlds. The finished piece had a lovely rock and roll feel to it.
Do you have any advice for those trying to get into the industry?
With the incredible advances in technology that mean we can produce all this amazing work, the thing that really matters still is people and ideas. The media industry can have a reputation of being a bit of a silo when it comes to providing opportunities for newcomers from different backgrounds, especially in the current climate. I have had the privilege of being a mentor for around 10 years and have found it a great experience and very rewarding. More recently I got involved with the Access VFX mentoring scheme to provide additional support for new people trying to get into the industry. It's very easy to sign up for if you intend to be a mentor or a mentee and all the conversations are fully safeguarded. I would also recommend any professional who feels like they would like to give something back to give it a go.
Want to see some of Paul’s work? Take a look at our project page here.
