ZBrush Character Design Studio — Aaron Sims Creative (2019)

In this episode, I’m speaking with Aaron Sims, the Founder of Aaron Sims Creative. I’m really excited for this one! Aaron and I discuss his career history as well as his company Aaron Sims Creative. His resume goes on forever: from Wonder Woman to Logan to Wrath of the Titans, to Clash of the Titans, to the Planet of the Apes franchise, to The Amazing Spider Man. I think this is going to be a lot of fun.

Moving forward, I’m going to be updating my blog, YouTube and Instagram a lot. So make sure to check out my website regularly: www.allanmckay.com.

Aaron Sims, the visual creator behind some of this generation’s most unforgettable cinema creatures, began his career over two decades ago as a special effects makeup artist. His pioneering techniques in the world of visual effects influenced the face of character and creature design in Film, Television, Games, Previs, and VFX early on in their application.

Aaron Sims Creative [ASC] was formed in order to bring together a wide range of the world’s most talented concept and visual effects artists and create memorable characters, creatures, VFX, costumes, and key scenes. Aaron’s unparalleled skill and dedication to consistently creating stunning content for all platforms of visual entertainment has made ASC a premiere entertainment studio. Since its founding, ASC has worked on feature films like It, Wonder Woman, Logan, Wrath and Clash of the Titans, War for the Planet of the Apes, Dawn of the Planet of the Apes, Rise of the Planet of the Apes, The Amazing Spider-Man and many, many more.

In this Podcast, Aaron talks about transitioning from special effects makeup to digital effects and starting his own company, the importance of learning and adapting — and how to stand out as a VFX artist in today’s industry.

Youtube comments:

Hector Ruiz
I gotta say that this is one huge reason I joined your mentorship. I want to be able to not only design a concept, but carry it all the way through the pipeline if I need to.
I fell in love with Medusa Clash of the Titans (2010). I became dazzled by the original one (1981) but the 2010 version added so much personality. Really outstanding work!
Adrian Gray
Hey Allan, I think I have an interesting idea for a tips tutorial. I think a lot of begginer VFX artists were asking them selves about the lighting on real props that were turned into CG. So for example you have a real building that need to be destroyed. Usually you would map real photos or even the clip you have over the CG prop depending on what assets you have. So what would be a good approach for lighting it... recreating the real building with non lit textures and try to match the light in the real scene (which might be tricky because of complex bounce light) or you use the lit projected texture and try to cheat lighting from there to not affect the final outcome but still getting shadows and other stuff from the light (which also has issue with getting weird colors/lighting from the approach) .
Alan Peak
Hey Allen, thanks so much for doing all this. How do you find the time to talk to all these talented folks?
Hi Allan, the only question I´ve been asking myself since the venom assets and videos is: How in the world are studio machines able to handle trillions of polygons? what kind of hardware STORES and RUNS those simulations? I mean: Like, are Houdini artists provided with GIGA monstrous servers to run their simulations? Like Disney (back in October 2017) published 50 GB for 1 simple beach shore (Moana's island). What kind of machine processor and ram will manage that? I am asking that because of creature creation and managing huge (50 GB+ files) assets. Thanks.
Philippe Jadoul
Thanks Allan
Awesome Podcast, thanks Allan. :)
Johan Mo
Thank you so much for putting this out there for free, its a huge asset!
Thanks for posting this
Gianluca Galota
Top VFX Podcast
Marek Derkowski
I love your work, Allan!
You left Goro's name up there Allan haha