Outline:
We all enjoy movies such asJurassic Park and Toy Story, and the mesmerizing skill of classicDisney animation, but not everyone transforms that passion into a profession. Pat Imrie turned his childhood interest into a career.best ’90s filmsand transformed it into a 17-year journey within the creative sectors, beginning as a freelance 3D generalist and later spending over ten years in film and premium visual effects.
Throughout her journey, Pat has collaborated closely with artists at some of the most prestigious studios in the industry, includingFramestore, DNEG, Cinesite, and Scanline VFX. He has worked in visual effects, animated films, television series, and video games, with a skill set that seamlessly covers the entire production process. From initial concept illustrations to completed assets, he is well-versed in the entire workflow.best 3D modelling software, with conceptual modeling, digital sculpting, modeling, and texturing forming the foundation of his work.
In this interview, we speak with Pat Imrie (through her sister magazine)ImagineFX) regarding the creative challenges of working in 3D, how the industry has improved over time, and his ongoing use of sketching as a foundation. If you’re motivated, check out our guide to thebest drawing tablets, take a look at itbest 3D art, and begin building yourself.
Visit Pat Imrie’s websitefor additional information on his work and film credits.
CB: From where did your creative path begin?
Pat Imrie:I used to draw and sketch a lot as a child and initially wanted to become a comic book artist. But after watching Jurassic Park and Toy Story in the theater, and especially learning about the production process through books and magazines, I became fascinated with how movies are created. That’s when I decided I wanted to work in the film industry.
That concept gradually disappeared over the following years, and I started considering “real” careers. However, when I was 14, I came across an edition of 3D World magazine, which rekindled my passion for computer graphics, film, and animation. I absorbed as much knowledge as I could about the field. At first, I thought I might pursue a career as an animator, but it wasn’t until I read an article about the visual effects in the movie Underworld that everything became clear to me: this is what I truly wanted to do professionally.
CB: What music is playing in the background as you work?
Pat Imrie: Movies are my preferred choice when I’m working — there’s always something I’ve watched many times, so it doesn’t take my focus away. The Goonies, Indiana Jones, Back to the Future, and the Alien series are the ones I watch most often. On other occasions, I might listen to podcasts or documentaries — anything that’s educational or engaging. The subjects can vary from wildlife, history, true crime… even supernatural or paranormal stories and folklore are part of what I enjoy.
CB: What advice would you most value if you were beginning your journey today?
Pat Imrie:Establishing limits as a creative individual and recognizing your value would likely be near the top of that list. It’s crucial for your personal well-being, something I didn’t take into account when I was a younger artist. Moreover, understanding that it’s acceptable (and common) to experience failure and that it can actually be more helpful for your development as an artist than success is.
CB: Are there any difficulties involved in working with 3D?
Pat Imrie: There are various difficulties when working in 3D, with each challenge being specific to the area of expertise you’re involved in. Whether it’s modeling, animation, rendering, or other aspects. From an artistic perspective, one of these challenges is transforming a 2D design into a 3D format. Simply copying it won’t take you very far – you need to re-imagine the design, making adjustments where necessary to keep the original ‘essence’ of the design intact while also honoring the original artist’s creative decisions.
CB: In what ways has the 3D/VFX field improved during your time in the industry?
Pat Imrie:Ease of access to 3D and VFX has never been greater. There are far more learning materials available now compared to when I began my journey. Although hardware and software can still be costly, they have become more reasonably priced, and there are numerous open-source options that allow anyone to begin creating. Open source is somewhat similar to the free software CDs you used to get with magazines! It lets you experiment, be imaginative, and have fun with the process. I wish I could relive that experience again.
CB: Are you more inclined to work with 3D models, or do you also engage in sketching and drawing? If yes, what do you create and why?
Pat Imrie: I always keep a sketchbook nearby — it’s still my first choice before I even start working on the computer. Drawing and jotting down my thoughts remains my favorite method — I believe it’s the most straightforward way to express ideas from my mind.
CB: Are you currently working on a passion project?
Pat Imrie:Yes! It’s a short film project that has gone through multiple changes over the past few years as I’ve kept working on it. It’s inspired by a short story written by a friend during their time at university. I recently completed a new version of the script, and I’ve begun creating the model for the main character, which is a significant achievement for the project. At the moment, the plan is to create it using Unreal Engine.
The technology to begin, and yes, you’ll need a sketchbook:
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