We are proud to share with you this interview with the award winning FX artist/TD & CG Supervisor and also co-owner of “Analog Studio” located in London, Matt Chandler . Matt’s works is featured in numerous commercials like Nike, Nissan, Ford, BBC, HTC and also in a lot of Idents spot.

Hi Matt, can you describe your background?

I wasn’t interested in computers or CGI at all whilst growing up. I only ever played games on the PC and I was always making models or sculpting things in my dad’s shed from polystyrene. I grew up in the very south west of the UK in Cornwall.  It’s an area well known for its artists, art inspiration and  my step-father is a painter – so I was always surrounded by creativity. Im also an accomplished guitarist and used to sing and play in a band throughout my teens when not surfing on the beach!

What attract you with CGI? I mean why did you choose this career?

I studied Modelmaking/Miniatures at university, intending to forge a career in making props and prosthetics for film and television. There was a small computer department there teaching basic CAD and 3dsmax 2 and I quickly realized I could not just make models inside the computer, but texture, shade, light and frame them too. I could do all of that and not be covered in paint or workshop dust – so I moved over to computers and managed to create an overly ambitious character animation about a little girl lost in the woods at night. Its unimpressive by todays standards, but I was quite proud of it at the time and it got me my first few jobs.

Inside the body

You worked in many well-known companies as MPC and Jellyfish? You even stay almost 5 years in there so how was it and why did you quit?

I was working from my bedroom for a few years creating 3d and graphics for channels like Extreme Sports channel and SKY movies.  My old university flat mate was an animator at Jellyfish Pictures and had recommended me to the boss for lighting and FX. After a brief chat/interview I found myself moving to London and working at Jellyfish.  I worked there for almost 5 years on many successful projects and there was a great assembly of dedicated talent there. I found I had a lot of creative freedom and that my input and suggestions were taken into account on production and how the visual effects would be realized.  I also pushed hard to use 3dsmax and brazil in the VFX pipeline, whilst also animating and creating FX in XSI/Softimage. Most of the awards winning projects there were rendered with Brazil and 3dsmax.
Unfortunately good times don’t always last and I was realizing that I no longer agreed with the direction the company was moving in. Sadly I announced my decision to leave. I can admit that it was one of the most difficult decisions I have ever made.
MPC invited me in to join the commercials department learning I had left Jellyfish and I started to learn their in-house hair/fur tools.  I was there for a number of months until deciding to co-found Analog..

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