5 Minutes With… Compositor Shaunik Kalia

Can you tell us a bit about how you got into VFX?

It was essentially a combination of the coolest movies and games of the 1990s / 2000s that got me interested in the visual arts. I studied design at University with a plan to move into game design and here I discovered game cinematics, which eventually opened me up to the magical world of film visual effects and there was no looking back.

Did you always want to be a compositor, or did you have different aspirations growing up?

I'd always had a sense of being in the creative industry but didn't specifically think about compositing from the get-go. I'd probably have dived into sports medicine if I didn't follow through into this industry.

What is the thing you most enjoy about compositing?

I absolutely love the fact that the work is never (or rarely) mundane and repetitive. Every day comes with a new challenge, something unexpected, something exciting. I thrive in environments of creative problem solving and getting the opportunity to bring together the amazing work that gets done by all departments into a seamless piece of art.

What brought you to Outpost?

I'd followed Outpost for a while and liked their approach toward making a better work environment within the industry. I dropped in an application, got into a conversation but they weren't hiring at the time. They mentioned that they’d be in touch in a few months when an opportunity arises, which, to the cynical me meant never. But, I was pleasantly surprised to be contacted a few months with a 'hey we can hire now, are you still in?’ That extra care and effort made all the difference and here I am.

How would you describe the atmosphere at Outpost for comp artists?

The teams at Outpost are second to none. It’s rare to find a place where everyone gets along really well. We all are pretty close-knit which makes the atmosphere very conducive to learning new ways, sharing ideas and making suggestions.

Is there a project or shot you are particularly proud of?

News of the World would be the one. It was a really challenging project that was hampered by the pandemic and the way the everyone pulled together and made this project not just work but deliver with impressively high-quality visuals under challenging conditions made this a special one.

As a compositor, what’s the biggest challenge you face?

Tunnel vision. It’s very easy to get so deeply fixated with the pixels and details in a shot that sometimes you need to take a step back and see the bigger picture to make a shot work. It can also be a high-pressure occupation at times so being calm goes a long way.

Do you have a piece of advice for anyone looking to get into compositing?

Be patient; shots that look impossible to build, will be possible. Always ask questions, always share ideas and methodologies and never be content with what you know because there is always a better way to do everything.

Do you have a particular creative process when starting on a project?

It’s hard to have a standard process as this changes with project requirements. It is really good to always study the shot or sequence assigned. List down the possible methods to make it work or the areas that could potentially be road blocks and problems. It goes a long way to also have a good understanding of the supervisor / clients’ vision. The more you understand that, the easier the work gets.

What is your favourite kind of comp work?

The invisible kind. As exciting as it is to build alien worlds with fantastic looking CG assets and comp them, there is something pure about invisible effects. Creating effects true to real world and photography to the extent audiences don’t even realise there is any VFX work involved, that’s awesome. It’s a fun paradox too – the less the audience notices our work, the better job we’ve done.

How do you see the future of compositing changing?

Real-time workflows are here to stay. I see it making compositing more focused on the creative aspect without having to worry as much about the technicalities of achieving the desired look. Having said that, knowing what’s under the hood technically can only make the process better. Also, I wouldn't miss green screens if they magically disappeared.

In your opinion, what makes a good compositor?

Training your eye to see beyond the normal in shots. Understanding colour. Always adapting to new methods and learning. Observing the world around you. Traveling – it’s an odd tip, but it inspires you to imagine and create better imagery.

Finally, some quickfire questions:

What’s the one thing you always keep on your desk?

Some water and my Compositing Book of Secrets.

You can eat one thing for the rest of your life – what is it?

Easy. Ice-cream. Won’t survive too long… but I’d die a happy man.

What would be your superpower?

Space-time manipulation.

You’ve got a couple of hours to kill – what do you watch?

Friends / Potter / LOTR

What are you currently learning?

Japanese, but then again, I've been saying this for ten years.

Any pets?

Not yet.

Favourite way to relax?

Reading a book or a bike ride perhaps.

If you could go anywhere in the world, where would you go?

Antarctica would be nice. Maybe Outpost will open a studio there.

What irritates you?

Misspelt wrds. :)

Guilty pleasures?

Watching ‘certain’ TV series that I pretend to never have heard of.

Favourite song?

Transatlanticism by Death Cab.

Last present you bought yourself?

An iPhone.