From collaborating with VFX pioneers on Apollo 13, to working with industry-leading post-production facilities and advertising agencies, veteran Flame Artist Renée Tymn has produced captivating digital artistry for more than 25 years. As this year’s winner of Autodesk’s Flame Award, Tymn discusses her prolific experience working on Oscar-winning films like “Bombshell” and memorable commercial campaigns, mastering remote work, and advice for artists looking to get their start in the industry.
Tell us about yourself, the work you do, and your experience as a Flame Artist.
I’ve worked as a Visual Effects Artist since 1994, and I’m the owner of Digital Banshee, Inc., where I provide VFX and finishing and specialize in color grading, set extensions, rig removal and beauty work. I’ve worked on 40 feature films and hundreds of commercials, earning an Emmy®, ProMax BDA awards and credits on Academy Award®-winning films. Throughout my career, I’ve made it my mission to gain insight from as many post-production companies as possible, so I’ve worked with teams at more than 60 facilities across the U.S. and Europe. I’m a member of the VES Society and active in the Flame Logik community, and I always enjoy supporting upcoming Flame Artists through education and professional mentorships.
What are some unique or noteworthy Flame projects that you’ve worked on?
I earned my first feature film credit on “Apollo 13,” where I had the opportunity to work with industry pioneers at Digital Domain during a groundbreaking time for the VFX industry. Another feature project that impacted my career was working on “X-Men 2” at Cinesite, where I was afforded creative freedom to design the look of sequences, including Jean Grey’s stormy eyes, the Cerebro effect and Pyro’s flames. “Bombshell” was my first feature film that I produced from my remote studio in Michigan, which was 6-months of solid work completing 140 shots of prosthetic cleanup.
I’ve collaborated with ad agencies, directors and post houses on hundreds of memorable commercial projects, like the Mountain Dew “Bad Cheetah” Super Bowl spot and the Jaguar XF launch campaign via director Hal Wolverton. More recently, I completed compositing, finishing and final delivery for the Fiverr “Opportunity Knocks” Super Bowl LV commercial, and I built set extensions for the Door Dash “Delicious” campaign.
I’ve also won an Emmy® Award for Outstanding Art Direction for NBC’s “Sunday Night Football” opening starring Faith Hill.
How did you get your start in the industry?
While studying computer programming and art at San Jose State University, I applied for a coveted internship position at Lucas Arts in 1993. Out of 400 applicants, I was one of 20 students accepted into the program. I was the only intern assigned to work at ILM, and it was an exciting opportunity to learn and work alongside some of the greatest artists of our time.
My internship mentor, Diane Holland, helped me secure a job at Digital Domain immediately following graduation, so I moved to LA and embarked on my career in VFX in 1994. While at Digital Domain, I founded the I/O department, hired and trained the first technical assistants, wrote the editorial tracking database and worked as the lineup editor, splicing leader onto film for scanning. I later worked as a digital artist on “Apollo 13” and “Strange Days.” It was during this time that I discovered Flame and Inferno, and I spent many late nights reading the massive manual to teach myself the software. The artists there really encouraged me that it would be a great tool for me to know, though it wouldn’t be until four years later that I would return to Digital Domain as a freelance Flame Artist.
In 1996, I secured my first job as a Flame Artist at Square USA, where I worked on “Parasite Eve.”
Where do you find creative inspiration for your work?
Whether through fellow Flame Artists, or the many photographers, sculptors, illustrators and glass blowing artists whose careers that I follow, I truly derive my creative inspiration from other artists pushing the boundaries of their fields. When I used to work in post facilities, one of my favorite daily activities was running into artists and colleagues and discussing their projects, which often led to learning a new tip or trick. My shift to a remote work environment has required me to branch out and find new ways to learn and improve my skill set without traditional, in-person interaction.
One of the most inspiring resources that I’ve discovered during the pandemic lockdowns has been the weekly Flame events hosted by Andy Milkis on the Logik.tv Live channel. Each Sunday, he hosts a virtual show with artists, technical and creative professionals and members of the Autodesk team. They discuss recent projects or the latest developments in Flame, and it’s a great opportunity to learn and connect with the community virtually. The show features such a wide variety of guests working in different disciplines that I always find something new with that wow factor.
Renée Tymn and Andy Milkis on Logik Live
What are your favorite Flame features?
Flame’s Planar Tracker saves the day for a lot of my rig removal work. I also really love the functionality of the comprehensive MasterGrade tools.
Are there any day-to-day challenges that Flame helps you overcome?
All of the challenges I encounter during the course of any job can be solved using Flame. While I’ve always been a proponent of using the best tool for the job, I find there isn’t anything I ever need to do outside of Flame. It’s one of the most powerful, flexible, all-encompassing production tools that exists, and it plays nicely and is a super-slick piece of software.
How have you embraced remote work, and do you have any advice for artists who may be struggling to adjust?
Following more than 25 years in LA, I recently transitioned to my remote studio in Michigan in February 2019. By the time the pandemic shutdowns started, I already had a year of remote work under my belt and had a feature film, commercials and music video projects in the pipeline. Since going remote, my career has grown in new ways I could have never have imagined, and technology has rapidly advanced to support my remote workflow. It’s a new way of interacting with people, and it’s a different type of effort to stay in touch and really put yourself out there. Watching the weekly Logik.tv shows and participating in the Logik Live forum have helped me stay connected, and since transitioning to remote work I’ve even made new friends.
For anyone struggling, remember to take a break, grab a glass of water and talk to other human beings throughout your day – whether on the phone or on Zoom. Do something each day that brings you joy and keep a routine. Working remotely can take additional effort – especially during the pandemic – so it’s important to go outside and maintain daily interaction with others.
What is your favorite aspect of your work?
I love the challenge of finding the best way to solve a problem. Finding the most efficient and effective solution to produce optimal VFX for the client is what keeps me motivated and helps drive my work.
What is the greatest challenge you’ve faced in your career?
Being a woman in a male-dominated industry. I quickly realized that there were pros and cons that had to be carefully navigated, but as most of the artists were men, I needed to become "one of the guys" and have a thick skin for wayward comments. Today, I’m working hard to elevate women in the industry and nurture new talent. I think working remotely has helped even the playing field and change things for the better, which will hopefully continue to be a great equalizer when we emerge from this.
What advice do you have for students or young professionals who are looking to get their start in the industry?
Find a mentor, network on LinkedIn, and check in with your support network on a regular basis, whether that is your fellow students, teachers or a recruiter. Also, be humble and take any job you can to get your foot in the door. I answered phones for my first three days before I was brought in for an interview, but just being in the building can get you in front of the right people. Remember to be professional and a team player, because you don’t want to get the reputation of being difficult to work with. Finally, join the Logik.tv community and ask questions on the forum, because artists are there to help you.
How do you like to spend your free time when you’re not at work?
I bake sourdough bread and train my French Bulldogs. I’ve also visited almost all 50 states and 26 countries, and I’m looking forward to traveling again.
For more information, visit: https://www.digitalbanshee.com/.
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