If you want to experience an epic space battle on the USS Orville but traveling 400 years into the future seems a bit daunting, we have the next best thing. Join us for an evening with JV Pike, digital effects supervisor for The Orville, as he breaks down how FuseFX helped design one of the key shots of the space battle from previs all the way through compositing. JV will show how he and the team leveraged deep compositing techniques, which helped them push through over 200 shots in just about 10 weeks.
"Identity Part II" aired in 2019 and immediately made history as the largest and most complex space battle visuals ever depicted on television (and later earned an Emmy nomination)! Lasting nearly eight minutes, the stunning visual effects were made with Houdini and Maya as well as custom, in-house tools that FuseFX created specifically for The Orville. During this livestream event, viewers will get an inside look at how the space battle scene was created, how the studio's creative input has progressed from its initial work on the pilot and have the opportunity to ask JV questions in real time.
Events with closed captioning are available via the Gnomon Facebook Live page.
Gnomon's full-time programs and 10-week individual courses are designed to develop well-rounded artists that are skilled in the diverse disciplines within 3D production. For those outside of the US, virtual classroom-style online courses are also available.
JV Pike started his VFX journey over ten years ago. He joined the team at FuseFX in 2014 as a Senior Compositor and quickly moved up the ranks from a Compositing Supervisor to a Digital Effects Supervisor. He is currently the Digital Effects Supervisor on The Orville for Hulu. JV's previous credits include Outer Banks, Queen of the South, and Deadwood: The Movie.
In 2019, JV was nominated for two Emmys for his work on The Orville and Deadwood: The Movie. Later that year, he was awarded an HPA Award for The Orville.
JV's sharp eye for detail also earned him a VES nomination for Outstanding Compositing in a Photoreal/Live Action Broadcast Program for American Horror Story: Freakshow. Before landing at FuseFX, he worked for various VFX shops like Sony Imageworks, Mirada, Gradient Effects, Technicolor, and Reliance Mediaworks.