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Toeing the Line: The importance of staying local

August 31, 2013|By Ray Richmond

You may have noticed this past week that Los Angeles Mayor Eric Garcetti declared a state of local “emergency” due to Hollywood's production exodus out of California amid a flood of tax breaks from New York to New Zealand.

It seems that film studios like to save money — who knew? — and have trouble resisting the 30% savings incentives offered seemingly everywhere but here. If you're making a $200-million movie and can shave $50 million to $60 million off of your budget by moving it to Michigan, it's a pretty powerful lure.

The domestic visual FX business has taken a particular hit in this equation, evidenced by the February bankruptcy of the company Rhythm & Hues less than a year after it won an Oscar for “Life of Pi.” The prevailing wisdom is that global outsourcing has rendered the effects industry virtually unsustainable in California.

Yet despite this grim outlook, a pair of VFX production houses right here in Burbank happen to be thriving — bucking the trend by doing it leaner, meaner, smarter and, well, better.

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A little more than a year ago, Shant Jordan formed the effects boutique Synaptic VFX along with brother Shahen Jordan and partner Ken Gust. All three had deep experience in different areas of the business. Shant specialized in 3D art and compositing, Shahen in matte painting and concept art, and Gust in post-production and finishing.

“That versatility allows us to do everything in one building,” Shant explains. “We're very lean. There's no redundancy.”

Shant admits that it's been “a little bit of a rough road” making a go of it financially but that Synaptic is over the hump. It has steady work on the new ABC series “Marvel's Agents of S.H.I.E.L.D.” from producer Joss Whedon, a TV spinoff of the Avengers films premiering Sept. 24.

The company has generated business from studios paying full fare by establishing a comfort level that may be lacking with unknowns in Vancouver or Albuquerque, Shant believes. 

“It's taken us nearly a year to create that. But part of the reason we've been successful is that we're social guys. Most VFX artists are computer geeks. We are too, but we're also cool.”

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