CAREER STORIES
Definition: How would you describe your path into the VFX industry? Emma Kolasinska: I didn’t have a traditional route into VFX. I graduated from Mountview Theatre School and spent several years working as an actor. I got my first ‘proper job’ at Oasis Television in Soho as a receptionist and made it my mission to learn the pipeline; everyone’s name who came through the door and one fact about them. I’ve met several people throughout my career who came through that door! I then moved to HHCL, one of the biggest advertising agencies in London at that time, working as an edit assistant. I managed to get the edit facility running more efficiently so that Prime Focus acquired it a couple of years later. I’ve worked as a facility manager of a production company; a scheduler for ITV; an advertising shoot/ post producer; head of production at the fabulous Mainframe and then settled in Bristol about eight years ago, where I have worked in VFX for broadcast. With all of the people I have worked with in my career, I love seeing where they are now. From Oasis Television especially: the then-runner is now MD of a post house and a scheduler was creative production lead at MTV/NBC. It makes me so happy when I see people succeed. Def: What does a typical day look like? EK: I tend to start earlier than most so I can have a quiet 30 minutes before the troops arrive. I look through client emails or feedback that came through the day before, check my calendar and roughly plan the day out. We have dailies throughout the morning on each project to keep them on track. I speak to clients and new business during the afternoon and then make sure the artists all know what they are doing the following day. It sounds very routine but every day is different. I am always kept on my toes. Def: As a long-time mentor with ACCESS:VFX, what advice do you have for someone aspiring to work in this industry? EK: Take every opportunity you can. It never hurts to ask a question. Cover yourself! Any conversation you have regarding you or the work you’re doing, write it down and send it back to the recipient. This could save you time and/or money down the road!
INDUSTRY INSIDER As well as her work at Lux Aeterna, Emma gives support and guidance to those wanting to enter the VFX industry
Def: How has the VFX industry progressed and changed since you began your career journey? EK: In terms of technology, pipeline and quality, it has come on leaps and bounds for the better. In diversity, really not as far as it should, which is why our work with ACCESS:VFX and Babbasa is so important. Def: What industry trends do you currently have your eye on and what do you think is in store for 2025? EK: I am avidly watching who is commissioning and what is being commissioned. The last year has been very frightening for everyone working in TV and film. I worry about the ambition versus the budgets that are available. I feel strongly that we need to work with production companies to get them thinking a lot more smartly about GFX and VFX, so that they are shooting with it in mind and spending wisely. I would hope for more stability in 2025. Def: What is your favourite project or collaboration Lux Aeterna has worked on? EK: I have genuinely loved all the projects that I have worked on. Each one is unique. Each production company and director brings their own energy and ways of working. Seeing what we create here constantly blows my mind. Def: What career milestone are you most proud of? EK: I am always proud when I manage to get the team on-screen credits for our work. VFX is generally the only department that isn’t all name-checked. I think it is hugely important. Def: How do you adapt and keep up to date in such an ever-changing industry as VFX? EK: I read a lot. I try to keep across what people and companies are up to. Technically, I trust our heads of department and supervisors to tell me the best ways of working for them. When new things come into our industry, it’s not always the case that they plug in and work. We have talented IT and pipeline TDs who need to work their magic to adapt our pipeline.
WE NEED TO WORK WITH PRODUCTION COMPANIES TO GET THEM thinking more smartly about GFX and VFX ”
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