Breaking down barriers: DNEG’s digital compositor Laraib Atta on becoming a VFX artist at 19
When she was starting out, Laraib Atta gained a reputation for being one of the youngest female VFX artists in her field. Having grown up between Pakistan and the UK, she graduated from specialist VFX school Escape Studio in 2006, and was working professionally at just 19 years old. Gaining experience with companies such as The Mill, Framestore, MPC, BBC and Sky, she went on to join the team at Aardman, before landing her current job at DNEG (or Double Negative) in 2016 – whose Oscar and BAFTA-winning work includes effects for Blade Runner 2049, Dunkirk, Inception and for the Harry Potter franchise. Looking back, Laraib cites her first viewing of Toy Story as a major turning point; “I fell in love. I was intrigued by the animation, storyline and characters,” she says, “I didn’t know I wanted to get into VFX, but I knew I was interested in combining art and technology.” Overcoming multiple personal challenges along the way, Laraib has since shared her story in the hopes that it will encourage others to fight for their passions, and inspire the next generation of women and diverse talent to join the industry.
Laraib Atta
Job Title
Digital Compositor, DNEG (2016–present)
Based
London
Previous Employment
Digital Compositor, Aardman Animation (2015)Digital Compositor, Glassworks Barcelona (2012–2013)
Freelance work as a Digital Compositor and VFX Artist for Mainframe, Imasblue, Post 23, Sky, Prime Focus, The Mill, BBC (2008–2015)
VFX Artist, MPC (2007–2008)
Selected Film Credits
Sweeny Todd, Mission: Impossible – Fallout, X-Men: Days of Future Past, The Chronicles of Narnia, Godzilla, 10,000 BC, Where the Wild Things Are
Education
VFX Course, Escape Studios (Graduated 2006)
Social Media
Day-to-Day
How would you describe your job?
As a compositor, I am at the last step of the process and bring all the elements of visual effects together to its final result. We have to make sure we are constantly communicating with the other departments, whether that is 3D or Roto/Paint.
Big VFX houses are known for the constant overtime and burnt-out staff, but DNEG’s TV department has been so positive. It has a very friendly culture to the tight-knit team and a strict 9-to-6 rule. As a full-time working mother, it’s something I really appreciate. On other days and due to the love for my job, I don’t mind staying extra time and making sure the work is at a level I want it to be before I present it to the supervisors.
What does a typical working day look like?
VFX work is very office-based, therefore most of my day is spent in front of the computer. My working day consists mainly of working on the different shots assigned to me as an artist.Usually in the morning, production coordinators and supervisors will come in to check on the progress of the work. Later in the day we have review sessions in the screening room, commonly named ‘dailies’, where the supervisors will give feedback. Once the shot is internally approved, it is submitted to the client for their feedback, and goes through a tech-checking process to make sure it will not present any issues in the editing room.
On some projects I am involved at the development stage. At this point we are able to suggest a looks and creative approaches to a client. It can be time consuming, but it’s our job to send out several versions. I enjoy collaborating creatively with supervisors to propose ideas and address feedback.
“Big VFX houses are known for the constant overtime and burnt-out staff, but DNEG has a very friendly culture and a strict 9-to-6 rule.”
What do you like about working in London?
I started out in the VFX industry in London. I studied at Escape Studios, before starting as a Roto and Paint artist at MPC on Hollywood film projects. Since then I have worked for several London-based companies including Framestore, The Mill, BBC, Prime Focus, Sky and now DNEG. I have also had the opportunity to work at Glassworks in Barcelona.
I have always loved working in London because of the different support networks we have. With London being the hub of VFX, all the companies are close by. It is great for networking and people in this industry are so open-minded and supportive. You always come across people from different backgrounds. For me, London will always be my top place for work.