Post Magazine

July 2016

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www.postmagazine.com 50 POST JULY 2016 BUSINESS fter launching Zoic Studios in Culver City, CA, in 2003, we kept a close eye on growing areas within the VFX industry and had our eyes on what was beginning to happen in Vancouver. After the original 1990s tax incentives, the local industry got a boost, but it wasn't until the early 2000s that we saw the opportunity for it to blossom into one of the top international pro- duction hubs. With additional incentives specifically for post production, we chose to grow the studio in a loca- tion where our client base was rapidly expanding and the local industry was steadily gaining momentum. A number of the major episodic series we were working on began packing their bags and heading up north, and we felt that we would be able to foster more fruitful creative collaborations by being right in the thick of the action. So Zoic B.C. was launched in 2006. Though our custom pipeline allows us to do work from any location, we have found it invaluable to have such close access to both longtime creative collab- orations and projects with brand-new partners. We have been working on ABC's fantasy series, Once Upon a Time since the show's pilot in 2011, and filming for all five seasons has taken place exclusively in Vancouver. This series calls for heavy VFX work, both in terms of volume and quality. In the five years that we have been work- ing on Once Upon a Time, we've worked on over 100 episodes and have really had a great time stretching the limits when it comes to magical effects. No matter what the script calls for, we find a way to make it work. Oftentimes, the creatures we are crafting are such central characters that they are acting alongside the actors in the show, so being able to work closely with the creative team throughout the process is essential. We are also creating virtual sets that are designed by the show's art department and shot on a green stage. There is so much interaction and collaboration with all the different departments. When we first started, visual effects were a self-con- tained process that occurred after prin- cipal photography. But now, because we are so heavily integrated in the production for this show, we need to be a part of the process every step of the way. As our business was continuing to expand in "Hollywood North" and my time on location as an on-set supervisor for some of our biggest series (Once Upon a Time, Falling Skies) was growing, I made the decision to move my family up to Vancouver full-time in 2012. With so much of our proprietary technology being put into action in Vancouver, it really felt like the most vital place for me to be to con- tinue to grow the artistic future of Zoic. I am still able to collaborate closely with our teams in Culver City and New York City, but being here allows me to work really closely with our creative partners on projects to push boundaries on what is possible for VFX in television. Also, with our home's location near both Vancouver and Seattle, we can go hiking, biking, boating and skiing while still being able to enjoy a nice dinner nearby. We opened with a bare-bones team of three and have grown to accommodate a peak staff of over 50. The talent pool has changed so much since we've been here — originally there was not a robust talent pool or a streamlined infrastructure for bringing in outside talent. In recent years, the pool has grown exponentially with the addition of many robust local post production educational programs, such as the Lost Boys School of VFX. Though there has been an influx in local talent, the number of studios in the area has also surged, so recruiting is a competitive process. We are actively involved in the local VFX community, both on a profes- sional and educational level. We really go out of our way to create a company culture that is not only fun, but also allows artists to have a wide range of creative experiences for TV, film, games and commercials. Since we work on such a wide range of projects, we provide a place where artists can really explore their creative expression and refine their personal style and approach. Being a part of the Vancouver VFX community has been an incredibly rewarding experience over the last decade on both the creative and business levels, and we are looking forward to the next ten. HOLLYWOOD NORTH ON FIRE VFX HOUSE ZOIC CELEBRATES 10 YEARS IN VANCOUVER BY ANDREW ORLOFF CREATIVE DIRECTOR/VFX SUPERVISOR ZOIC STUDIOS VANCOUVER WWW.ZOICSTUDIOS.COM Zoic B.C. has employed as many as 50 artists at times. The Vancouver market has grown to offer a robust talent pool. A

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