Meet the people behind our award-winning work across the globe. Up next is Mikros MPC’s Rigging Artist, Marine Sisnaki.
At Mikros MPC in Paris, Marine is responsible for creating digital skeletons for 3D computer-generated (CG) characters. These skeletons, or rigs, are like puppets that define the movements of a character or creature, such as how a big cat runs or how a person’s face and mouth move when they sing or how someone raises an eyebrow.
Some of Marine’s notable projects include the woodland animals on Vittel’s ‘Biodiversité’ campaign, a swan for L&C’s ‘Glide’ film, a bear for Samsung’s ‘EcoBubble’ feature and numerous characters for LEGO’s ‘Rebuild the World’ spot.
What drew you to work at Mikros MPC?
I was actually aiming for Mikros Animation but it turns out I love working on commercials. The deadlines are short and the expectations are very high, so we have to be dynamic and organised in our approach; I often have to switch between several tasks which is challenging, but I never get bored and I wouldn’t want it any other way.
Where were you working before Mikros MPC?
Just before joining Mikros, I was a student at LISAA in France. In July 2017, I started a rigging internship at Mikros VFX on a feature film called ‘Santa & Cie’, which was followed by my first contract at Mikros MPC. I have remained in the group since.
How did you first get into the world of post-production?
When I was a student, I wanted to be a 2D graphist / publicist, after an internship at an extremely well-known agency, I realized it wasn’t for me at all. So, in 2014 I enrolled at LISAA to study VFX.
What projects have you worked on?
A fair few in the last 3 years! I’d say the most significant ones would be the swan for L&C ‘Glide‘, the bear for Samsung ‘EcoBubble’, LEGO ‘Rebuild the World’ and of course the animals on Vittel ‘Biodiversité’ campaign.
What have been some of the biggest career influences in your life?
There’s no real influence that led me on this path. I guess encounters and life hazardous ways led me to where I am today. I didn’t really pursue a specific goal while studying, but I happen to love where I am today.
How would you describe your creative process and how do you stay inspired in your work?
I try to adopt the most methodical approach as possible and to learn something out of every production I’m involved in. Whether it was good or bad, I think experience is always valuable and I still have a lot to learn. The exchange with the animators is what drives me to improve my work, to push the rigs and tools as far as I can. I’m always impressed when I see them give life to a character.
What would you say makes a good artist and what advice would you give to those entering the industry right now?
I’d say curiosity and an open mind. With every project comes new challenges, so take risks, be creative and not just in an ‘artistic’ way. Our tools, and the production stakes are evolving so quickly; there’s no one right way, as long as it works. We’re making the rules as we go along.
Favourite piece of MPCor Mikros MPCwork that you didn’t work on?
VolksWagen ‘Born Confident’, the amount of details on the baby goat is just insane.
Things you’re most proud of?
Last January, I presented a three-week master class about rigging and workflow in Maya at ARTFX school in Paris. With only three years of experience in the industry, I wasn’t feeling super confident in leading a masterclass. But the students were so motivated and eager to learn – after the year we’ve been through with the pandemic, it was really energizing! Back at LISAA we didn’t study courses on Rigging, so I owe my mentor and colleague at Mikros MPC, Alex Sauthier, for most of what I know as a rigging and set-up artist. I think it’s only fair to share whatever experience I have with the next generation of riggers, I’m so grateful for this opportunity. I can’t wait to do it again next year.
What do you like to do in your spare time, any passion projects or side hobbies?
Anything not screen-related! Mostly yoga and reading which allows me to rest my mind after intense projects. I also have an old sewing machine that I work on whenever I have long period off work.
Get in touch with our team in Paris here.