Alpha Chromatica

It’s hard to believe it’s already been nearly two months since I began my journey with Alpha Chromatica Education (ACE). While there’s still so much more to learn—and concepts like [premult] continue to challenge me—I can say with confidence that I’ve been giving it my all every single day. After my kids fall asleep, my night truly begins. I rewatch the recorded lectures (thanks to Ganz Ramalingam), experimenting with the techniques by hand. In those quiet, late-night hours, I experience a kind of solitary catharsis—completely immersed in the creative process. Interestingly, this experience has reignited a familiar habit from my fine art days. Back then, I was obsessed with capturing light and texture exactly as they appeared, often to the point of stubbornness. While most of my peers sketched objects almost from memory, I insisted on chasing the fleeting details of reality. Ironically, this pursuit of realism sometimes flattened my work, making it feel more two-dimensional, reminiscent of Impressionist paintings. The frustration of falling short of my vision still lingers in my memory. Now, as I refine my VFX skills, I find myself once again captivated by how light breathes life into objects. Yet, I’ve realized that cinematic photo-realism is not a direct imitation of reality—it carries an added layer of artistic filtering. There’s a subtle enhancement that makes the natural feel more vivid, more compelling. This has sparked a creative question: As an artist, should I strive for technical perfection or focus on amplifying nature’s vitality in a more creative, expressive way? How can I translate that idealized realism into my own work? Of course, once I step into an actual production setting, much of this introspection will become second nature. But for now, as a student, I’m relishing the luxury of these artistic musings—and fully enjoying the process of discovery. 😉 🧑🎨 🎥 📷 🤩

𝗖𝗵𝗿𝗼𝗺𝗮 𝟬𝟯𝟯𝟬 - 𝗜𝗻 𝗪𝗵𝗶𝗰𝗵 Alpha Chromatica 𝗛𝗮𝘀 𝗜𝘁𝘀 𝗙𝗶𝗿𝘀𝘁-𝗘𝘃𝗲𝗿 𝗛𝗮𝗹𝗹𝗼𝘄𝗲𝗲𝗻-𝗧𝗵𝗲𝗺𝗲𝗱 𝗪𝗮𝘁𝗰𝗵 𝗣𝗮𝗿𝘁𝘆 Halloween kicked off early at Alpha Chromatica! Thanks to Kseniya’s organizing magic, our team gathered (virtually) on Monday for a Halloween movie party, where everyone brought their spooky side to the screen. The winning movie? Ghostbusters: Frozen Empire, a fitting choice after a spirited poll. Costumes, masks, and face paint filled the Zoom squares as everyone transformed for the party. With favorite snacks, dim lights, and friends joining from all over (4 different time zones!), it was a cozy, fun afternoon filled with that unmistakable Alpha Chromatica vibe. The big question: Who do you think was the spookiest? 👻

Andrew was a former compositing student of Ganz. - Class 1, actually. Andrew worked at Hydraulx as a Roto Paint Artist. - Credits: Hardcore Henry (2015), Fantastic Four (2015). Andrew was one of the first people to work for Vitality VFX as a Compositor. - Credits: King Arthur: Legend of the Sword (2017), Baywatch (2017), xXx: Return of Xander Cage (2017), Aliens: Zone of Silence (2017), Live by Night (2016), Assassin's Creed (2016), Spectral (2016), Hell or High Water (2016), The Family - Season 1 (2016), Pee-wee's Big Holiday (2016). Ganz stole Andrew and together they ran the most successful compositing program in the World! - They taught over 70 compositing students together. Andrew worked at Crafty Apes alongside some of his former students. - Credits: Peacemaker - Season 1 (2022), Raised by Wolves - Season 2 (2022). Andrew achieved a childhood dream when he worked at Industrial Light & Magic as a Compositor. - Credits: Star Wars: Obi-Wan Kenobi (2022), Lost Ollie (2022). Andrew joined ReDefine as their VFX Trainer. - He ran live training for ReDefine and DNEG artists in North America and Europe. - He helped lead Greenlight and Internship programs. Andrew joined DNEG and continued delivering training across the global pipeline. - He created and delivered the AI Fundamentals Course, Keying Workflows Course, and Interactive Time Management Course. - He led compositing knowledge shares and training sessions for new training team members. Ganz stole Andrew again! This time for Alpha Chromatica. 𝗔𝗻𝗱 𝗻𝗼𝘄 𝗵𝗲 𝗴𝗲𝘁𝘀 𝘁𝗼 𝘁𝗲𝗮𝗰𝗵 𝘆𝗼𝘂 𝗵𝗼𝘄 𝘁𝗼 𝗯𝗲𝗰𝗼𝗺𝗲 𝗮 𝘀𝘂𝗰𝗰𝗲𝘀𝘀𝗳𝘂𝗹 𝗰𝗼𝗺𝗽𝗼𝘀𝗶𝘁𝗼𝗿. P.S. We don’t run overlapping classes, and we only train a small handful of students each intake. If you miss this one, the next opportunity is 8 to 10 months away. DM us or visit https://lnkd.in/g5NNFiJc before the seats disappear. (𝟮 𝗦𝗲𝗮𝘁𝘀 𝗟𝗲𝗳𝘁)

𝗖𝗵𝗿𝗼𝗺𝗮 𝟬𝟯𝟮𝟬 - 𝗜𝗻 𝗪𝗵𝗶𝗰𝗵 𝘁𝗵𝗲 𝗔𝘂𝘁𝗵𝗼𝗿 𝗧𝗮𝗹𝗸𝘀 𝗮𝗯𝗼𝘂𝘁 𝗩𝗙𝗫 𝗛𝗶𝘀𝘁𝗼𝗿𝘆 - 𝗣𝗮𝗿𝘁 𝟭𝟯 Mr. Computer Image Teaches Us the Origins of Digital Puppetry In 1968, Lee Harrison III's Mr. Computer Image became a monumental achievement, setting the stage for the future of computer-generated imagery (CGI) and motion capture technology. This project wasn't just a step forward, it was the first time a fully animated CGI character could speak and move in sync with human performance, a pivotal moment in the history of digital animation. At the core of Mr. Computer Image was Harrison’s Animac system. This analog animation system used potentiometers sensors embedded into a body suit worn by performers that recorded movement in real-time. These movements were translated directly onto a character displayed on a CRT monitor, effectively creating one of the earliest examples of motion capture. The system even allowed the character's facial animations to sync precisely with audio tracks, making the puppet not only expressive but also capable of delivering lines in time with a recorded voice. This was a groundbreaking blend of technology and performance. Mr. Computer Image stands as a direct ancestor to the advanced digital puppetry and character animation techniques used today. Harrison's innovation went beyond mimicking human motion, he introduced the potential for real-time manipulation of characters. His experiments inspired the creation of subsequent systems like Scanimate, which dominated TV production in the 1970s and 1980s, bringing animated logos, show openings, and effects into mainstream entertainment. Moreover, Mr. Computer Image demonstrated how analog technology could offer dynamic and synchronized interactions between visuals and sound. The rigging of body suits to control animations was not only novel but essential to shaping what we now recognize as motion capture. Harrison’s contributions remain woven into the DNA of the VFX industry. His early work blurred the line between artist and engineer, proving that animation could evolve into a real-time art form.

Chroma 0310 - In Which VFX Education Becomes a Craft, Not a Checklist (100% of our instructors wear comfy hoodies, 90% of our students ask how to get one) After years of teaching... We launched Alpha Chromatica Education (ACE) in 2023. → We followed the standard teaching methods → We brought in seasoned guest speakers → We gave exercises to help build foundational skills But here’s the truth: traditional education wasn’t cutting it. → So we rethought everything. → Focused on mentorship that goes beyond lectures → Built a program where students don’t just learn - they master their craft. (Here’s the 3-step process we used to revolutionize our students’ progress) 1) Personalized, Hands-on Mentorship: The Backbone of Our Program At ACE, education is a two-way street. Every student works directly with our Instructors. → Students get weekly, in-depth feedback, focusing on mastering real-world shots  → We break down each shot until they understand the finer details of what makes a perfect composite  → Every mistake is a lesson, and we push for mastery - not just completion (Our students graduate knowing how to solve problems like professionals.) 2) Real-World Experience from Day One From the very first lesson, our students tackle actual VFX shots. → These aren’t just exercises. They’re challenges modeled after real film projects  → With each shot, we guide them through the complex processes used by professionals  → By the end, they’ve built a portfolio that mirrors the exact demands of the VFX industry (Alpha Chromatica Education (ACE) students finish with more than a demo reel - they have real industry-ready work.) 3) Daily Commitment, Real Results This is no easy program. Every day brings a new challenge. → Our instructors show up every day to answer questions, give feedback, and mentor each student  → No one is left behind. If a shot isn’t photoreal, we keep working on it until it is  → The bond between student and mentor is what makes Alpha Chromatica Education (ACE) unique. We invest in your growth. (Our approach ensures you don’t just leave with skills - you leave with confidence.) If you’re serious about mastering VFX compositing and want hands-on mentorship... Join Alpha Chromatica Education (ACE) and start your transformation today. 💬#AlphaChromatica #Chroma #HeyGanz

How did you get your first work opportunity? I like to share this video from Industrial Light & Magic with my Alpha Chromatica students because it provides an authentic story for how one might discover their passion for creating visual effects, specifically: Compositing. I also had the pleasure to work with April, so I get to brag and say: “I know her!” Now she is a Senior Compositor with over 17 awesome credits. Thank you to April for sharing her experience and to ILM for creating this unique series. It’s heartwarming and fascinating to hear each person’s story, and I wish we had more videos like these to get to know every artist around the world behind the pixels. PS: I also worked with Adeline Qin at both ILM and DNEG, and her video is excellent too for aspiring lighting artists and TD’s! April: https://lnkd.in/gM_Q-GUd Adeline: https://lnkd.in/g8qzsY7C More interviews from "Get in the Door" - https://lnkd.in/g_T5KYhp

Recommended by another of Ganz’s former students, Ana, Wouter joined our Compositing Mentorship all the way from Belgium! Because of the time difference, classes became night sessions for him while he worked during the day. It’s not easy balancing work and an intense mentorship, but Wouter made it happen. And last month, he finally made it to Vancouver to meet his classmates and instructors in person and explore the city. Andrew and Ganz managed to catch him for a night out, one of those rare moments where the virtual world of mentorship turns into real-world friendships.

Chroma 0300 - In Which We Uncover the Realities of Learning Compositing What people think learning compositing looks like: - Watch a few tutorials. - Nail your first shot. - Master keying quickly. - Land a job right after finishing a course. - Start working on Hollywood projects instantly. What it actually looks like: - Watch countless tutorials and still feel confused. - Struggle with your first few shots. - Spend hours fixing keying mistakes. - Realize a solid reel takes time and effort. - Experience multiple rejections before getting a break. In compositing, progress is rarely linear. Don’t get frustrated if you don’t master everything right away or face challenges with your first job. Instead, remember: 1️⃣Every mistake is an opportunity to sharpen your skills and become better. 2️⃣Building a standout demo reel requires dedication and patience. 3️⃣Surround yourself with mentors and peers who challenge and guide you. 💬 #AlphaChromatica #Chroma #HeyGanz

Time travel is messy. The Hargreeves siblings make it catastrophic. 𝗧𝗵𝗲 𝗨𝗺𝗯𝗿𝗲𝗹𝗹𝗮 𝗔𝗰𝗮𝗱𝗲𝗺𝘆: 𝗗𝗮𝗹𝗹𝗮𝘀 takes the chaos of Apocalypse Suite and cranks it up to eleven. Assassins in cartoon animal masks. A time-travel conspiracy. A desperate mission to stop (or ensure?) the JFK assassination. And, of course, the continued dysfunction of a superhero family that barely tolerates each other. Ganz picked up Dallas right after revisiting the first volume, because one thing this series does exceptionally well is leave you wanting more. Written by 𝗚𝗲𝗿𝗮𝗿𝗱 𝗪𝗮𝘆 and illustrated by 𝗚𝗮𝗯𝗿𝗶𝗲𝗹 𝗕á, this volume takes the surreal, dreamlike action of the first book and pushes it further into 𝘀𝗮𝘁𝗶𝗿𝗲, 𝘀𝗽𝗲𝗰𝘁𝗮𝗰𝗹𝗲, 𝗮𝗻𝗱 𝘀𝘁𝗿𝗮𝗶𝗴𝗵𝘁-𝘂𝗽 𝗺𝗮𝘆𝗵𝗲𝗺. 𝗡𝘂𝗺𝗯𝗲𝗿 𝗙𝗶𝘃𝗲 is at the center of it all, proving once again that a time-traveling assassin trapped in a child’s body is the most terrifying (and hilarious) character in the series. But what really stands out is how Dallas leans into the idea that history isn’t just about 𝘸𝘩𝘢𝘵 happened, but who gets to rewrite it. The Hargreeves don’t just battle each other, they battle destiny itself. And the art? Still phenomenal. 𝗕á’s style is kinetic and expressive, making every action sequence feel weighty and fluid. He knows when to go big and when to pull back, a skill that a lot of mainstream comics could learn from. If Apocalypse Suite was about a family falling apart, Dallas is about whether they can put themselves back together before history itself unravels. Have you read it? What’s your favorite moment from Dallas? 👀

𝗖𝗵𝗿𝗼𝗺𝗮 𝟬𝟮𝟵𝟬 - 𝗜𝗻 𝗪𝗵𝗶𝗰𝗵 Ryan Lum 𝗦𝗵𝗮𝗿𝗲𝘀 𝗛𝗶𝘀 𝗪𝗼𝗿𝗸 𝗘𝘅𝗽𝗲𝗿𝗶𝗲𝗻𝗰𝗲 - 𝗣𝗮𝗿𝘁 𝟱 In this special Mentorship Session, Elmoatasem Ragab and I ( theFake.Guru ) hosted recent graduates and alumni, Iyas Hassine and Ryan Lum, to share their work experiences so far with the current students of Alpha Chromatica Education (ACE). One of the key questions from the students was about the interview process. Here’s what Ryan Lum had to say : Watch the video for his answer! Ryan Lum's Demo Reel - https://lnkd.in/g_GAnpiQ Missed the previous parts? Catch up here: Watch Part 1 Here - https://lnkd.in/gyKKtaNa Watch Part 2 Here - https://lnkd.in/d4kkExFx Watch Part 3 Here - https://lnkd.in/gjxCnXdR Watch Part 4 Here - https://lnkd.in/gcWKiX7M P.S. What’s the one thing you do before an interview to get yourself in the zone?