Dean Lewandowski graduated from The DAVE School in 2006 and has been working successfully as a digital artist ever since. Right out school he worked on the blockbuster sensation
Avatar and he was also the Layout Technical Director for
Rise of the Planet of the Apes. Most of us know the demands of tight schedules and extreme deadlines artists face in the industry so we were lucky to spend a few minutes with Dean to ask him some questions about his experiences as a visual effects artist.
TDS: Where are you from originally and what got you interested in CGI?
DL: I am originally from Chicago IL and playing video games is what made me interested in CGI. I originally wanted to do the programing of videos games, but quickly realized that I enjoyed the artistic/creative side much more.
TDS: How did you find The DAVE School and what was it about the program that brought you to the school?
DL: I found the DAVE School through research while frustrated with my then current university’s CGI’s masters program. After visiting the DAVE School, I found the skill set learned and the production style teaching very appealing. Also, the teachers at the school were heavy hitters in the industry, and I knew that their insight would be more valuable than a college professor’s.
TDS: What was your experience like at The DAVE School and what did you enjoy the most during your 12 months on campus?
DL: I enjoyed my time at the DAVE School. I made new friends that I still keep in touch with on a daily basis. As for the program, I think I enjoyed the final project the most at the DAVE School. I felt like Block 4 really prepared me for what a real production was going to be like.
TDS: What was your first job after graduation and did our program properly prepare you for your job in the industry?
DL: I was really lucky in that my first project after the DAVE School was working on James Cameron’s Avatar. Lightstorm Entertainment was looking for skilled artists in Lightwave who could work well under extreme pressure. The production style teaching and the expert use of Lightwave thoroughly prepared me for that job.
TDS: What work have you produced that you are most proud of as a professional artist?
DL: Currently, I’m most proud of the work I’m doing here at WETA, unfortunately, I cannot disclose specifics. But, I am also proud of the environments I made on Avatar. We created some visually stunning real time environments in very tight deadlines.
TDS: Currently you are working at WETA Digital; a five-time Academy Award winning visual effects company based in Wellington, New Zealand. What is your current role and can you share what your typical day is like?
DL: I am currently working as a Layout Technical Director. Here at WETA, the layout department takes on a bunch of different tasks and so really, no two days are the same. Unfortunately, I cannot disclose what I am currently working on.
TDS: How do you like living in New Zealand? Was it difficult to leave the US, family and friends behind?
DL: I am really enjoying my time living in Wellington. There is so much to do and see down here. There’s a lot less traffic and most of the people are kind and friendly. Also, the Rugby World Cup is currently going on, which has brought a lot of excitement. It wasn’t very difficult to leave the US because, living in New Zealand gives a great opportunity for friends and family in the US to come and visit.
TDS: Besides WETA, where have you worked and on what projects?
DL: My first industry job was at Lightstorm Entertainment working on James Cameron’s Avatar. Second, I went to Gribble Entertainment to work on Mars Needs Moms. Next, I went to The Third Floor where I worked on over a dozen different movies, including Warhorse and Men In Black 3.
TDS: If you had an opportunity to give advice to current DAVE School students and Alumni about working professionally, what would it be? What should they prepare for?
DL: First and foremost, you need to be a team player and need to get along with the whole workings of a production. I’ve seen a couple of instances, where skilled artists were let go because of their attitudes and not being able to work well with others. Secondly, they need to understand that if they are working on a production, that it’s someone else’s movie and vision. You may not always agree, but you have to do what the director/supervisor requests even though, a lot of times, it may not seem like it makes sense.
TDS: What major shifts in the industry have you seen since you graduated and started working on your career?
DL: Since I started working, I’ve noticed that a lot of the jobs have moved away from Los Angeles. Vancouver seems to be the hotspot currently for VFX work in North America. I’ve also noticed that previs is making huge leaps in the industry. It seems that more and more productions are using previs, not just VFX heavy films.
TDS: There seems to be a trend in the film and game industry of the two merging in some capacity. Do you see this happening from your perspective?
DL: I would definitely say there’s a merging of the two industries. I know that some cut scenes in games are being created by production houses, not the game studio. Also, the same type of technology used to create Avatar is being used at video game houses to help create next gen games.
