It felt like the credits flying past exerted a crushing force, pushing me against my seat so powerfully that I had to look down just to make sure I hadn't somehow melded to it. I quickly looked back up, not wanting to miss what I was subconsciously looking for.
There it was, so suddenly, and then there it wasn't again, and it read "Visual Effects Supervisor".
I had gone out to see "Star Trek" on a warm 2009 night during my junior year of high school. This pivotal, nay, fateful, night was when I discovered what I wanted to do with my life and (ultimately) my brain. In an urgent fervor, upon returning home, I stayed up nearly the entire night to research what it all meant. I learned that there were schools for this, and that next day, after obsessed and careful consideration, I narrowed down my choices and have not looked back since.
As I delved deeper into the world of compositing (at the Art Institute of Portland), I found it to be increasingly fitting. When I was growing up, math (along with graphic design and photography) was one of my favorite subjects, and compositing is much like mathematics with a healthy dose of visuals. You are posed with an irresistible (visual) question, an end goal which will in turn be part of something larger...it's like being told what dessert is going to be like before you have to eat your vegetables, even if it's just a scoop of vanilla ice cream. So there you begin, with a question that needs a process to arrive at an answer, and like mathematics-while the structure for certain situations remains the same- solving two different problems is never alike. Each can be a savory and juicy journey if you so desire.
My name is Yuriko Zubia and I love making food analogies about compositing almost as much as I love being a compositor and motion designer. I'm captivated by photo-real surrealism, all things whimsy and dark, and people with positive attitudes.
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