Computer Graphics World

VES AWARDS PRELUDE AT THE HELM Jeffrey Okun is finishing his third term as VES chair. Here, we provide a snapshot of Okun, who presently heads up the Visual Effects Society. Okun got his start in the industry in 1978, working with world-renowned graphic designer/filmmaker Saul Bass, who did title sequences, montages, com- mercials, and documentary films. "I was his gofer, but he put me in a position to learn about VFX back in the photochemi- cal days," says Okun of his mentor. "It was the coolest thing ever." The eager, young Okun also would hang out and pick up information from the optical cameramen and others who would explain what they were doing. It didn't take him long to master the neces- sary skills, and he eventually became a troubleshooter on movie sets. Afterward, he worked on a number of music videos and commercials, creating in-camera and optical effects. He has also created complex VFX for numerous films, served as visual effects supervisor on many projects, and directed. Most recently, he began working at Prana Studios, a US animation and VFX facility with a sister company in India. "I am trying to put together an effects arm that abides by all the rules the industry has learned from the 2.0 Initiative," Okun notes. Okun became involved with the VES "by accident" in 1997 when one of the board members invited him to join. Because there were so few members back then, anyone who joined had to serve on a committee; Okun chose the Awards Committee and soon was appointed chair, a position he held until two years ago. As chair of the VES, Okun's goals are more "pie in the sky" concepts. His main goal is to make the VES the premier voice of the worldwide visual effects in- dustry—the go-to place for any question about visual effects. Another goal: to keep the community informed and to ensure that the artists and the industry thrive. Out of those grew the 2.0 Initiative. "We saw that the community was not thriving. Artists were being abused, were frustrated, and were giving away things because they didn't really know their rights," Okun says. When asked what kind of mark, or legacy, he would like to leave behind when he eventually leaves his post, Okun notes he would like to leave a "can- do" attitude so that people will pick up the gauntlet and continue to do what is right for the artists and industry going forward. discovered, artists are not usually the best, most well informed businessmen," Okun says. "It became imperative to educate and inform VES artists about all things business." Of particular concern are the working con- ditions of the artists, who are working longer hours for less income, and who are not re- ceiving recognition for their efforts. To deal with these issues, the VES is exploring the creation of a Certification process to see how 6 • Computer Graphics World • January 2012 to resolve some of these matters. "We are highlighting what is going on out there and starting to bring all the parties with a stake in the game to the table, so that what is being discussed privately behind closed doors can be talked about publicly so that a solution can be found," says Okun. In this ongoing discussion, many artists believe that the facilities are the so-called "Scrooges" in the game; the facilities, mean- while, feel that the fault lies with the studios' business model; the studios, on the other hand, point to the marketplace as the prob- lem. "We are bringing everyone together to have the discussions and facilitate some out-of-the-box thinking to bring about solu- tions," Okun says. "The players can come to their own informed decisions about what can be done and can't be done [concerning this problem]. Our job is to make sure the conver- sation continues." In May 2011, the VES issued an "Open Letter" to VFX artists and the entertainment industry at large, highlighting the Society's efforts in addressing important business issues as they relate directly to the members. This was fol- lowed in September with an Industry Bill of Rights designed to recognize and address numerous industry-wide issues affecting the VES membership and the visual effects indus- try as a whole. "We are trying to stay very positive about everything we do. We are not looking for scapegoats," says Okun. "We are trying to get constructive changes made, and get our art- ists recognized for their talents and abilities. Visual effects artists need to be recognized for what they contribute to the bottom line in the entertainment industry, and be compensated fairly for what they contribute. Some are, but so many others aren't."

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