Episode 401 - VFX Sup Colin Strause - Creating Fire Sequences for FIRE COUNTRY
Episode 401 - VFX Sup Colin Strause - Creating Fire Sequences for FIRE COUNTRY
Episode 401 – VFX Sup Colin Strause – Creating Fire Sequences for FIRE COUNTRY
The intense drama and riveting action in the newest primetime CBS hit series FIRE COUNTRY is accompanied by spectacular firestorms: The work of visual effects leaders CBS VFX which was selected by producers to create the namesake infernos and deliver other critical visual effects for the most watched new network series of the season. Led by VFX Supervisor Colin Strause, whose career includes such big-screen blockbusters as RAMPAGE, SAN ANDREAS and THE AVENGERS, CBS VFX brings together a visual effects crew of more than 100 people to deliver as many as 135 effects shots in every episode of the series from Jerry Bruckheimer Productions and CBS Studios.
To make fire into a palpable antagonist in the series and to showcase the many different and terrifying forms that fire can take, the work from CBS VFX incorporates multiple elements, sometimes including actual pyrotechnics that were filmed on set in highly controlled circumstances. Although the series is set in Northern California, it is shot in British Columbia where extremely dry conditions mostly prevent the large-scale use of physical fire.
FIRE COUNTRY is the largest in an impressive range of recent projects for CBS VFX, which have also included the acclaimed series ONE PERFECT SHOT for HBO Max and ARRAY Filmworks; and innovative virtual production solution to COVID-relateds challenges for THE DREW BARRYMORE SHOW; and special productions for the 2021 MTV Movie Awards and NCAA Final Four.
CBS VFX has developed groundbreaking technology and created visual effects for multiple series across many networks, including Apple TV’s ROAR, THE OFFER for Paramount +, THIS IS US on NBC, Netflix’s DEAD TO ME, and BIG SHOT on Disney +.
Brothers Colin and Greg Strause have charted a meteoric rise from self-taught artists working on local cable commercials in the suburbs of Chicago, to renowned visual effects gurus. Their careers began on the original run of THE X-FILES television show before working their way onto early CG-driven features, THE NUTTY PROFESSOR, VOLCANO, and the iceberg sequence of James Cameron’s TITANIC. Founding their own VFX house, Hydraulx in 2002, the brothers have worked on visionary sequences for over ninety feature films including AVATAR, THE AVENGERS, SKYFALL, 300, CAPTAIN AMERICA, 2012, IRON MAN 2, BATTLE: LOS ANGELES and THE DAY AFTER TOMORROW. Their work on the latter brought Greg a BAFTA for Best Achievement in Special Visual Effects.
In this Podcast, Allan McKay interviews the VFX Supervisor, Director and Producer Colin Strause about his start in VFX – from launching his own company Hydraulx to directing feature films – his learning on the job and working on the challenging fire sequences on FIRE COUNTRY on CBS.
Colin Strause on IMDb: https://www.imdb.com/name/nm0833779/
Colin Strause on TV Academy: https://www.emmys.com/news/mix/colin-strause
Fire Country on IMDb: https://www.imdb.com/title/tt16098700/
Fire Country on CBS: https://www.cbs.com/shows/fire-country/
EPISODE 401 – VFX SUP COLIN STRAUSE – CREATING FIRE SEQUENCES FOR “FIRE COUNTRY”
Hello, everyone!
This is Allan McKay. Welcome to Episode 401!
I’m sitting down with Supervisor, Director and Producer Colin Strause to talk about his career in VFX – from launching his own company Hydraulx to directing feature films – and his recent work on the challenging fire sequences on FIRE COUNTRY on CBS.
Colin and I talk about:
- Starting out in VFX;
- Launching his own company Hydraulx with his brother;
- Venturing out into directing their projects;
- Learning on the job;
- Working on features like San Andreas and Aliens vs Predator: Requiem;
- The creative process and challenges on Fire Country;
- And so much more!
I’m really excited for this Episode!
Let’s dive in!
FIRST THINGS FIRST:
[01:24] Have you ever sent in your reel and wondered why you didn’t get the callback or what the reason was you didn’t get the job? Over the past 20 years of working for studios like ILM, Blur Studio, Ubisoft, I’ve built hundreds of teams and hired hundreds of artists — and reviewed thousands of reels! That’s why I decided to write The Ultimate Demo Reel Guide from the perspective of someone who actually does the hiring. You can get this book for free right now at www.allanmckay.com/myreel!
[1:00:24] One of the biggest problems we face as artists is figuring out how much we’re worth. I’ve put together a website. Check it out: www.VFXRates.com! This is a chance for you to put in your level of experience, your discipline, your location — and it will give you an accurate idea what you and everyone else in your discipline should be charging. Check it out: www.VFXRates.com!
Okay, what did you think? I’d like to thank Colin for joining the Podcast. This was a fun Episode!
Next week, I’m sitting down with VFX Supervisors from Crafty Apes Marc Smith and Tanner Bartlett to talk about their work on THE MENU.
Until then –
Rock on!
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