Get to Know | Matthew

In this release, we’re proud to spotlight one of our Los Angeles FOLKS, Matthew Rappaport. As a CG Generalist and Lighting Lead, Matthew brings a keen eye for detail and a deep understanding of both artistry and technology.

CAN YOU TELL US ABOUT YOUR CURRENT ROLE AT FOLKS?
As a CG Generalist and Lighting Lead at FOLKS Los Angeles, I have the opportunity to contribute in a variety of ways depending on the needs of the show. This can be creating environments, animating vehicles or helping with previz/camera blocking for example. With a background in photography, I have a strong passion for lighting, which often serves as the crucial link between the different 3D disciplines and the compositing department. As the final person to hand off CG renders, I can often make a meaningful impact on each project.

HOW DID YOU GET STARTED IN THE FIELD OF VFX?
I studied Computer Science and began my career in the video game industry. However, I soon shifted to working on commercials, drawn by the photorealistic pre-rendered visuals that offered a contrast to the more stylized game engines at the time. Much of my growth came from learning on the job and pushing myself to develop new skills after hours. Being bilingual also opened doors, allowing me to spend a year working at an agency in France. In the commercial world, smaller teams mean wearing multiple hats, which helped me become proficient in multiple skill sets. When I later transitioned to episodic work, this broad knowledge of various departments and experience with fast-paced turnarounds proved to be incredibly valuable.

WHAT DO YOU ENJOY MOST ABOUT WORKING IN VFX?
What I love most about VFX is that it's both a technical and creative endeavor. I really enjoy getting a creative brief or photographic references and transforming them into compelling visuals, tackling the problem-solving challenges along the way. Combining photography and computer-generated imagery has always captivated me—it still feels like magic to see everything come together, even after many years in the field.

THE FIVE MAIN VALUES OF FOLKS ARE CREATIVITY, COLLABORATION, EXCELLENCE, SIMPLICITY, AND KINDNESS. WHICH ONE DO YOU MOST IDENTIFY WITH?
If I had to choose one value, it would definitely be collaboration. Visual effects is a team effort, and the opportunity to work closely with others is a rewarding aspect that I never take for granted. Most people in the industry share a love for visual storytelling, and when everyone contributes their ideas and expertise, the result is greater than the sum of its parts.

WHAT DO YOU LIKE MOST ABOUT THE CITY YOU WORK IN? IF YOU WERE GIVEN THE OPPORTUNITY TO TRANSFER TO ANOTHER PITCH BLACK COMPANY LOCATION, WHICH ONE WOULD IT BE?
Los Angeles is a vibrant and fun city, but it also holds a special place as the birthplace of VFX. Being here provides a tangible connection to that history—for instance, just a few miles from our office are the warehouses where the original Star Wars miniatures were filmed. If I were to transfer to another location, I’d have a hard time choosing just one. Instead, I’d pitch a year-long tour: a few months surfing the Gold Coast near Brisbane, mountain biking the North Shore in Vancouver, sampling tapas in Madrid, and wrapping it all up exploring Montreal’s culinary scene.

WHAT IS SOMETHING ABOUT YOU THAT PEOPLE MIGHT BE SURPRISED TO KNOW?
Early in my career, the state of California held a contest for its long-running anti-smoking campaign, inviting participants to submit commercials. My submission made it to the finals, and I was flown to the capital to meet Arnold Schwarzenegger, affectionately known at the time as "The Governator." He shared some great stories about the Terminator films and even showed us his Conan sword, which he jokingly said he used to slash budgets. My commercial ended up in theaters across California, playing alongside movie trailers before films.

IS THERE A FOLKS PROJECT YOU PARTICULARLY ENJOYED? 
A recent project that comes to mind is for Doctor Odyssey in which we created a couple shots of a boat being tossed around by a hurricane. It was a close collaboration with the very talented FX team in Montreal and we got a lot of work done in a short amount of time.