Interview with Tim Flattery, Illustrator/Concept Artist
October 26, 2006
Tim Flattery is a concept artist with a resume that could best be described as prolific. He's contributed to the look of a long list of movies including the Batman, Spider-Man and Men In Black franchises, and shows no signs of slowing down. You will soon be able to see his work reflected in the movies Transformers and Fantastic Four II. Tim took some time out from his busy schedule to talk with us about his time in the industry and his experiences with LightWave 3D.
Can you tell us a little about yourself and your history with 3D?
I was working on Men In Black 2, designing the guns. I needed to get many different views for the fabricator and decided that I would save time doing them in 3D. So I built them in Strata.
How were you first introduced to LightWave 3D?
Well I started out using Strata and my friends Darren Dochterman and Steve Burg said what are you doing? You need to be using LightWave. They were right... I havent looked back since.
What feature of LightWave do you like the most?
I have to be broad and say the over-all power of modeler. Modeling with sub-patch surfaces is limitless.
Are there any plug-ins you use on a regular basis?
Oh yeah, I love FPrime! It changed the way I light and texture, because its so interactive. I also love Poz Extender and PShelf textures.
What does being a Illustrator/Concept Artist entail?
Basically sitting down with the director or production designer and going thru the script to discuss what needs to be conceptualized. This can range from specialty props to environments and architecture. Then Ill do a bunch of rough sketches of ideas and weed thru the ones I want to show. Once we pick a direction, I go into more finished art and build it in LightWave. In many cases, I will also supervise physical construction.
Are there any projects that stand out as favorites or particularly challenging?
I would say Solaris. I am most happy with the look of the movie. The hardware was well researched and it showed. Its also one of my favorite movies to watch. Its refreshing to actually use your brain when watching a movie instead of being spoon fed for 2 hours.
What projects are represented in the images we've included in this profile?
The images represent finished concepts from Mission Impossible 3, Stealth, Solaris, Serenity and The ArchiTechs.
Is there a particular "look" that works better for concept presentation?
That's a great question... one that many guys waffle on. It all depends on the director and what he responds to. I've worked for guys that really like a painterly feel to an image and on the next movie I may be working with someone who can't grasp a design unless it's in 3D and moving. Both ways are valuable and both have their place in pre-production.
How much are others production members involved in your design process?
Another great question. Again it depends on the show. The director will always have input and final say. Some are more involved and some just want you to come up with something cool and run with it. The production designer can be heavily involved in the process too. Again, it just depends on the person and what point I start working on the movie. In many cases I get a call during development so I work away and usually show stuff to the director once a week for feedback. If there is a brand name involved then there is great consideration for that also and usually input from that company.
Does a franchise with an established look differ from work on a single feature?
It depends on the project. Sometimes on a franchise or sequel they will want to create a different look so it's like starting from scratch. In the other cases, it is easier... you just take design themes from before.
Does your work ever involve producing animation, or strictly stills?
I produce animations 80% of the time. It's such a great way to showcase an idea and always gets a big reaction.
Does your work for concept presentations ever make it into film use?
Yes. For instance, I finished a show called The ArchiTechs in which mine and Darren Dochterman's designs and animations are in the show to explain the ideas. In most cases my models will go to the effects company and they will add to or rebuild the design using my models as the template.
Are you ever involved in the development of licensed merchandise for a film?
Not really... toy companies come in during the design process so they can get a jump. I will supply them with my models and artwork, but it ends there.
How has LightWave affected the way you work?
LightWave has played a huge role in many ways for me. It forces me to think through a design from the outset which makes it easier to execute later. It is also the best tool for selling a design concept. Once the design is textured and animated it has a great visual impact.
How has the entertainment industry changed since you entered it?
Its changed a lot. In my early days we never started a movie without a finished script. Now its rare that the script is finished in pre-production. Its also more expensive to make movies now so there are budget constraints that effect every aspect of development, pre-production and production.
Has your personal approach to working in 3D changed over time?
Its changed in the fact that the more I learn, the more I use it. So now, I rely heavily on LightWave and use it on a daily basis. I find it just as useful in the design process as drawing. It has now become as much of a design tool as a pencil.
How does Concept Art compare to more traditional 3D work?
They are two main differences. Traditional 3D work is usually for animation in post... but that too is changing now. The challenge to concept art is being able to come up with designs and imagery that will sell an idea or scene. Development banks on this with the studio. It helps in getting a movie green-lit and nailing down what the over all look and theme is along with helping to budget the film. Traditional 3D is the execution of these ideas.
Do you have any advice for someone new to the 3D industry?
I would have to say to also get some background in design and maybe even illustration. People that work in 3D that are also good artists and designers are incredibly valuable. Anyone can learn the software... Its being able to conceptualize that will separate you.
Do you have any specific advice for artists interested in concept art?
Yes, be able to draw everything well, from figures to environments, hardware etc. To be valuable, you have to be as proficient at period stuff as you are at futuristic or present day.
Do you have a "LightWave tip or trick" others might find helpful?
Ive found that lighting is easily the most important aspect in achieving successful scenes and that FPrime is so interactive that it has changed the way I light. This is more of a process than a tip but I found it helpful.
What's next for Tim Flattery?
I just finished Transformers and Fantastic 4 Two. I am in talks now about starting James Cameron's new film Avatar in the next few weeks. Should be fun!!
Thanks for taking the time to talk to us, Tim!
To learn more about Tim Flattery, visit his website:
www.TimFlattery.com