Today almost every big budget movie, along with commercials and promotional films use CG (computer graphics) to get the ‘realistic’ effects they need. CG can bring life to scenes where in actuality there is nothing but a green screen. They can also help move the story forward and allow the production company to remain in the studio instead of traveling great distances to get a needed shot that could otherwise cost tens or even hundreds of thousands of dollars and more. We look at the results of CG every day whenever we watch TV or look at a video or movie on our phone or computer. It’s something that we rarely point out in surprise because the effects look so real and we take them for granted because they are so commonplace.
The artists and technicians who produce them are overlooked also, not because they are commonplace but because they work more or less alone on their computers, generating some of the most wonderful pieces of true art in this century. Benjamin Dupin is one of those unsung artists whose work most of us have seen or soon will see in upcoming projects.
Benjamin studied Multimedia Art and Visual Effects in Paris and has been working as a CG Tracking Generalist Artist ever since. He currently works for Eight VFX in Santa Monica. Some of the projects he has contributed to are: Mr. Muscle, a TV commercial, Nissan’s TV commercial Stampede, Samsung’s Jo Paralympic 2016 TV commercial, Let Go Discoball TV commercial, CES Toyota Concept commercial, Cox cable Gigablast TV commercial, Nike China’s Commercial The Epic Step, The National Highway Traffic Safety Administration’s Emoji commercial, Gatorade’s Never Lose The Love commercial, Beyonce’s Hurt Me music video, Twix’s All Nighter TV commercial, Kia’s Optima Blake Griffin TV commercial, and the list goes on and on and on.
Benjamin is currently working on the feature film I, Tonya, which is scheduled for a 2018 release. He is the lead tracking artist for face replacement and he’s also in charge of all the CG crowd effects. He and his crew developed a very strong workflow, which enables them to deliver a lot of crucial shots faster and better while staying on schedule and keeping within the film’s budget. Benjamin is working with Golaem Crowd, which is the artist and technician friendly crowd simulation software. Benjamin says Golaem brings movies, games and commercials to life by allowing the artist to create a few or a few thousand life-like digital characters to fill the screen.