Founder of Vizy Acky

I met Garman Hergistad at Industry Giant 2006. Behind him was footage from X-Men, Harry Potter, and Stealth. Garman was talking to several young guys about a new school he planned on opening up in the Dallas area. A guy that has worked on several Hollywood blockbusters coming here to teach, this is incredible! Garman has more than twenty years of experience, and has taught at numerous schools with several of his past students now working at Digital Domain, Pixar, Sony Imageworks, and others studios. And yet with as much success as Garman has had, he seemed quite interested in me, asking me what I was studying and what my goals were as we walked to a coffee shop near the location of his visual effects school.

A: I went to Iowa State University and got a Bachelor’s Degree in Advertising Design. Essentially (it is) graphic design with a lot of marketing. Then I got my Masters at Iowa State University in Fine Arts. So what I did for my graduate project was write a very bad 2D program for the computer. At the time some of the faculty said that you cannot make art with a computer. However, my committee liked the idea. They were all older and knew that there was going to be a big change.

Q: So how did you get into the industry?

A:  While in my graduate school, I did a lot of calligraphy. At that time my goal was to do illustrated lettering for Hallmark Greeting Cards. I did examples of different kinds of lettering and I sent it to Hallmark trying to get a job.  They rejected it, made some suggestions, and I would send it again and again until I finally got an interview. It was the coolest thing to go down to Kansas City. It was a big deal in the 80’s, Hallmark was doing a lot of cutting edge stuff. I wasn’t hired, but I did get a job at Gibson’s Greeting Cards in Cincinnati, Ohio. I found out that about Post Production Services that had one of the few 3D computer graphics systems in the United States. During that time most of all 3D that was done were logos for television commercials. Since I did all my lettering illustrations trying to get a job at Hallmark, I ended up getting a much better job. The same portfolio I sent them landed me a job at Post Production Services.

Q: What has been you hardest project?

A: That would be a project I did for a Hong Kong Advertisement Agency for a new industrial city that was being built in Thailand. It was almost unheard of doing a minute's worth of computer graphics, and they wanted it done in three and a half weeks. It was basically an architecture project, but there was a very good creative director. So even though it was a building, it was a very popular ad. When we finished it, the client was so happy with the job we did that they gave us two more just like it with a similar time line. It was hard because computer graphics was so new. Then when I went to Thailand, everybody knew what I did. I became a mini celebrity in Thailand because of these commercials, it was bizarre.

Q: A celebrity? Do you mean the industry or the public?

A: In the industry, but actually, everybody saw the commercials, so you could say even so in the public. It was not that everyone knew who I was, but they knew what I did. So when I told people what I did, they would recognize me. For instance, I had been interviewed at an airport one time by a Thailand reporter that was randomly interviewing tourist. So I told her what I did and she said “All of Thailand is proud of you.”  So that job was difficult. We were really pushing our resources of what computers could do at that time, and doing that amount of work in that amount of time.

Q: I have heard that before, that clients just want more, at a cheaper price, and in less time?

A: At that time clients knew what they wanted their commercial to look like, and so that made it very easy.  The creative director was available to me almost 24 hours a day, since we were working almost 24 hours a day. So whenever we had design questions, he would help make decisions on it. They had a very clear idea where they wanted to go and they tend not to deviate from the plan. They did very good story boarding artwork, and there were approvals all the way along of what it would look like. Computer graphics were so expensive that people would plan out their work very carefully before they even decide to do it. Now with computer graphics, computers are becoming faster and cheaper and more people are doing it, that clients have become spoiled. The typical client does not prepare as well. It is very difficult if you are starting a project and somebody thinks they can change it in the middle of it. If a client is not very prepared and try to make changes along the way, they end up getting not as good of a product because time was not spent on detail. The better prepared a client is the better work they will get. When I was working at Digital Domain, they made sure we had the exact reference materials that they wanted something to look like. It makes it so much easier to do good quality work when you have and actual reference material to look at. So a client that does not provide it up front are really hurting themselves and wasting their own money and their own time. I had my fair share of bad clients. One guy was just twirling his arms in the air saying, “I want it to look like this.” And they say, “Well, you’re the creative one, you make something.” It meant nothing to me. I made something and he would say, “No, no. That is not what I want.” So it is a very poor way to communicate waving your hands in the air.

Q: You have just finished working on Ant Bully, will this be your last film?

A: I’ve said that before. It is my last movie for the time being. I cannot see myself being away from it too many years. I actually want to spend a good effort trying to get my school started. If the opportunity comes up that I can work on something part time I might do it. 

Q: Now, you came to Dallas to work on Ant Bully, but you are staying to open your school, so why did you decide to stay here in Dallas?

A: I had taught at the Savannah College of Art and Design, and I really liked the teaching aspect, it is still very creative. Helping people with their projects is similar to working on a real production. So I wanted to teach, to start my own school, and I was trying to decide which city. The logical choice would be Los Angeles, but for a variety of reason, I did not want to stay. So, I was trying to find another city to set up my location. I needed a place with a good airport. I figured that a good percentage of my students would be people that would travel from around the U.S. or overseas, and so having a good airport was important. Consequently, the primary reason why I decided to work on Ant Bully was to scout Dallas. Another thing was that there was a bit of the industry here. There is a fair amount of commercial work and gaming industry here in Dallas.

Q: What is the purpose of Vizy Acky?

A: The idea for my school is to supplement your education, not to be a replacement. Universities give a good basic understanding in 3D, but often time times they do not have the chance to teach a few missing thing that are very industry oriented. I want to give students a better insight as to what the industry is looking for. I expect most of my students to have some training at another school, but I will have some introductory classes for those that are completely new to 3D.

Q: What software will you be using at Vizy Acky?

A: The software that I’m teaching is a weird one. Houdini is not as common as other software being taught. But it is used very extensively in motion picture film effects.

Q: What do you think about the growth of the industry in Dallas?

A: I haven’t visited a lot of the companies, but it seems like it is heading in the right direction. I have met some folks at Janimation and I have been impressed. I have heard of Reel FX. And then there is A Bunch of Short Guys, meeting them and knowing what they do was great. It is perhaps the thing that will make Dallas the place to be. An industry oriented group like that is really essential to making the Dallas area grow.

Q: You have accomplished a lot in your career, so what goals are you still reaching for?

A: To get more Houdini users in the market. But short term, I would like to offer tracking classes and compositing classes. I would also like to expand my school and possibly add teachers.

Q: What advice can you give students getting ready to get in the industry?

A: Helping other people is a very good thing to learn as a student. In the industry, if you want to be promoted to head supervisor or lead, you must be able to lead a team and help other people. If you learn to help other people now, then that is what will make you more valuable in the future.

www.vizyacky.com