The VFX Factor: Studio RM Welcomes Three New Flame Artists to Premium Finishing Team
Studio RM is thrilled to introduce three exceptionally talented flame artists who have joined their finishing & VFX department. Studio RM specialise in creating sophisticated and beautiful visuals for fashion, music, and premium advertising, and our new artists, Rich, Miriam and Kofee join to strengthen the department’s capabilities. Based in our London studio, they will also support clients across New York and Paris.
Senior flame artist Rich Barns, brings over eight years of experience working at ETC, Smoke and Mirrors and Jam VFX. Flame artist Miriam Oladejo joins from No.8 and Kofee, transitioning from a year as a photographic/retoucher, adds valuable support as a flame assistant.
Already, the team has contributed to beautiful campaigns such as Michael Kors’ "Haute Pursuit," Gucci’s "Fine Jewelry," and Troy Sivan’s new music promo “One of Your Girls”.
After a few months in, they sat down with them for a chat:
Q> What attracted you to Studio RM, and what aspect of the company are you most excited about?
Miriam> Studio RM has a unique selection of talented directors and DOPs who they collaborate with and who I’m excited to work with - like Alasdair McLellan, Elena Petitti di Roreto, David Sims and Gordon von Steiner to name a few. Pretty much everything we receive is stunning footage already and therefore way more fun to comp with. The culture within the studio is collaborative and friendly which makes it an ideal space for creativity to flourish.
Kofee> I think the high standards of retouching and finishing is what initially attracted me to RM. I then noticed the commitment to develop individuals' skills and thinking to achieve the same exciting results within photography and film.
LBB> Are there any specific techniques or styles you're eager to explore or incorporate into your work at Studio RM?
Miriam> Beyond compositing I am pretty interested in VFX supervising. I'd love to do as much shoot attendance as possible to maintain high quality results throughout our projects.
Richard> I've enjoyed bringing my VFX expertise to the team and enhancing our VFX capabilities, thereby expanding our department's repertoire.
LBB> How does working on luxury, fashion, and beauty finishing differ from other forms of advertising?
Kofee> Working in luxury, fashion and beauty requires focus on representing the brand and thinking about the lifestyle that’s being portrayed through a story, whether it be a lookbook or campaign film. For me, this involves a different kind of creative thinking to help deliver successful projects to clients.
Miriam> What I find different is the type of studio, Studio RM is. We have our in-house team in the same space daily where we can just discuss with our colourists and producers how to divide and conquer the tasks, as well the collaborative approach with directors and DOPs who often come into the studio and get involved in the process. In many ways it's an old-school real studio feel with a couple of new twists to speed us along the way.
LBB> Before you joined Studio RM, what pieces of work were you proud to be apart of?
Miriam> From ads probably FIFA, Starbucks, Mulberry and Tesco were the most fun and on the episodic side Peaky Blinders because of the teams I've worked with and everything I've learnt on the job whilst doing it.
LBB> Have you enjoyed the mix of commercial projects as well as music promos at RM? How does it challenge you creatively or technically?
Rich> Music videos definitely have a bit more research and development to them. This is a lot of fun to be a part of. One can make use of their imagination and their experience. The idea of problem solving comes into play here and that's where thinking on your feet can be a huge advantage.
Miriam> Music videos are often the most challenging because of their length and the amount of VFX needed in such a short time. But they are pretty fun and I quite enjoy them, it was great to work with Rich and Kofee on Troy Sivan’s “One of Your Girls”, directed by Gordon Von Stiener.
Kofee> I enjoy working in commercial projects as it’s great as a flame artist to be part of large campaigns. It challenges me through the complexity of the larger projects allowing me to fully immerse myself in a project often involving collaborating with our colourists Jamie & Myles. I find music videos, on the other hand, immersive from a different perspective; less complex in size but I’m forced to think about the story that’s being told throughout the video. I do also enjoy working with Myles.
LBB> Has working near the Studio RM print retouching team led to any collaborative moments or learning experiences?
Miriam> The retouching team here at RM is like a well-oiled machine. They are quick and have an incredible attention to detail. Many times, using their stills as a reference for us on the motion side has been massively helpful - they have about a good decade experience working with the same directors and photographers and know what their expectations are, how natural that skin needs to look or what other small details clients might be picking up on.
What's less known about the team is that they are also a great source of random trivia. I've had so many good laughs with them and feel pretty well—equipped for a pub quiz should the opportunity ever come by. Not quite the 'Devil Wears Prada' sort of vibe I was expecting.
Richard> It is certainly interesting to engage in the techniques they use. They also have tremendous inside knowledge of directors and photographers. How they like to shoot and what they are looking for. This has been of great help to us in motion.
Kofee> As I trained as part of the print retouching team, the invaluable learning experiences I had there has helped me tackle problems in potentially different ways. The immaculate attention to detail that the print retouching team often helps projects achieve the results that clients desire.
LBB> Outside of the studio, how do you stay inspired and creative?
Richard> I am an explorer by nature so getting into the big outdoors is how I recharge and how I become inspired. I am also fascinated with London and the cinéma-vérité of real life.
Kofee> I think it’s important to feel a connection to the work we have in the studio, whether that’s going to events surrounding artists we work with or just taking interest in the music from the artists we’re working with. I find inspiration everywhere, whether scrolling socials or at an exhibition.
Discover our latest finishing and VFX work here:
