Théo Constant

Théo Constant: learning cinema, specialising in VFX, integrating AI into workflows

Before joining CinéCréatis, Théo Constant took a vocational baccalaureate in digital systems. His interest in visual effects was already there, but first he wanted to understand cinema as a whole. Not just the technical side. Not just the software. But also the narrative, the professions, the production stages and the way in which an image fits into a project.

“ My ambition was already to do visual effects. I chose to go to CinéCréatis to learn about cinema as a whole.

This choice reflects a clear desire not to specialise too quickly without understanding the environment in which visual effects work. For Théo, VFX is not an isolated field. They are part of a wider intention, that of telling a story.

” I wanted to learn about cinema and tell stories. I wanted to do special effects and tell stories with them.

A course to discover the different professions before choosing your path

When he arrived at CinéCréatis, Théo didn’t yet have a precise vision of the job he would do later. He knew he wanted to go into visual effects, but he was gradually learning about the different jobs in the production and post-production chain.

It was this global approach that caught his attention. From the first year, students are exposed to several disciplines. This enables them to test and compare, to understand the roles of each and to identify the specialism that best suits their desires.

” We’re introduced to the different trades in the first year, so that we can then find out where we stand and see where we want to go.

Discussions with teachers also play an important role. During the open days, and then as the course progresses, Théo talks to several teachers who help him to clarify his career plans.

” I was able to talk to a number of different teachers, who gave me a lot of pointers on what I wanted to do later on.

This orientation phase is important in his career. It enabled him to move from a general interest in visual effects to a more precise specialisation.

A useful technical foundation right from school

Théo insists on the importance of the fundamentals acquired during his training. Tools evolve, software changes, but the basics learnt at school are still used in professional work.

” It gave me a solid grounding right from school. These are the basics that I use all the time.

These skills then enable him to continue learning on his own. Training is not an end in itself, but a foundation. It provides the reference points needed to progress, adapt and go further in a specialisation.

” Thanks to these foundations, I’ve been able to go a little further in my personal learning.

This idea recurs frequently in his testimony: the school gave him a framework within which to work, but also the means to continue his learning once he entered the professional world.

A green screen project inspired by Blade Runner

One of Théo’s most vivid memories is of an exercise he carried out in his second year. The project was about the green screen. He chose to work on a scene inspired by Blade Runner.

The exercise could have remained a simple school project. Théo decided to go further. He contacted the film’s VFX supervisor directly to ask him some questions.

“ I wanted to redo a scene from Blade Runner on a green screen. So I contacted Blade Runner’s VFX supervisor, and I was lucky enough to get an answer.

The meeting took an unexpected turn. The supervisor was in Montpellier at the time for the filming of The Count of Monte Cristo. Rather than just replying by message, he suggested that Théo meet him to explain certain elements directly.

“ He was in Montpellier at the time for the filming of The Count of Monte Cristo. Instead of replying by message, he said to me: ‘We’re going to go to Montpellier, and then I’ll explain it all to you and show you.

This episode remains an important landmark in his career. It also shows a way of working: seeking information, asking professionals, daring to ask questions and using school projects as concrete learning opportunities.

From student project to digital compositor

On graduating, Théo joined Bande Originale, where he works as a digital compositor and AI artist. His work is mainly in post-production, particularly on advertising films.

“ I’m a digital compositor and AI artist at Bande Originale. I do the compositing for the adverts they make.

Compositing generally comes at the end of the visual effects chain. It involves assembling several elements to create a coherent and credible image. It can involve integrating a 3D rendering into a shot, adding visual details, correcting certain elements or enhancing the realism of a scene.

Théo gives a simple definition:

“ Compositing is the final stage of post-production in visual effects. We put things together, make them as realistic as possible, and add details like dust and smoke.

His work focuses on advertising projects, including some for Honda. In this context, the visual effects have to be precise, controlled and sufficiently integrated not to distract the viewer.

“ Overall, it’s advertising, particularly for Honda. I do visual effects on those shots.

A job that demands precision

Compositing is often invisible to the viewer. That’s precisely part of its objective: to ensure that the image works without the technical intervention being obvious.

The work consists of adjusting details, harmonising elements, correcting faults and making a shot credible. In some cases, the viewer should not perceive the work that has been done. In others, the effect may be more visible, but it must remain consistent with the visual intent of the project.

This precision requires both technical mastery and an eye for the image. Knowing the software is not enough. You need to understand what makes an image credible: the light, the textures, the movements, the shadows, the depth, the colour, the rhythm of the shot.

In Théo’s case, this is where the generalist film training comes into its own. Understanding the different stages in the making of a film gives him a better idea of his own role in the production chain.

Artificial intelligence as a production tool

Théo is also working on the uses of artificial intelligence in images. His approach remains very pragmatic. AI is not presented as a stand-alone solution, but as a tool integrated into a production process.

“ We use AI as a tool to help us and to be able to create things more quickly for the customer. “

In his work, AI can be used to generate images, visual tracks or certain video elements. But this content is not used directly. They are reworked, corrected and integrated into a wider workflow.

” We will always use a hybrid workflow. As well as generating the content, we will rework it to correct any defects in the artificial intelligence.

This distinction is important. For Théo, AI does not replace the work of the composer. It comes in as an additional step, which must be controlled by traditional post-production tools and methods.

” I don’t think we can directly release something generated by artificial intelligence. We use a hybrid workflow.

The work can therefore combine live shooting, AI generation, compositing and corrections in software such as Nuke or After Effects.

” We shoot what we want for real, then we correct it using more traditional tools like Nuke or After Effects.

ComfyUI and the new AI tools

Among the tools he is currently using or observing, Théo mentions ComfyUI. This software allows you to work with artificial intelligence locally, using nodal logic. This approach is similar to certain environments already used in the image and visual effects professions.

“ ComfyUI is software that uses artificial intelligence locally. It allows us to have a sort of more traditional system on which we can work with artificial intelligence, a nodal system. “

For artists used to compositing software, this nodal logic is of particular interest. It allows them to better control the generation stages, to organise the work, to test several combinations and to obtain a process that is more controllable than on certain online platforms.

” It’s really trendy at the moment because it removes some of the restrictions you see on online sites. You can really create what you want and imagine what you want. “

This type of tool also demonstrates the rapid evolution of the image professions. Traditional skills are still necessary, but they now have to interact with new uses. For Théo, this evolution means above all remaining curious and continuing to experiment.

Curiosity as a working method

In his testimony, Théo refers several times to curiosity. He feels that it is essential, both during his studies and in the professional world. For him, being curious means more than just being vaguely interested in a subject. It means researching, testing, contacting professionals, learning new tools and trying to give shape to his ideas, even when they seem ambitious.

“I think you have to be curious about what you want to do or what you want to talk about.

He encourages future students not to limit their projects too soon. A student exercise can become an opportunity to aim high, as long as they are willing to look for the means to achieve it.

“The more ambitious you are, the more likely you are to find the resources or professionals who can help you.

This ambition must remain concrete. It’s not a question of believing that a student has the means to achieve a major production, but rather of trying to understand how to get there, with the resources available.

“If we want to make something that looks like a blockbuster with millions, we still have to try and find the means to do it.

The importance of professional contact

Théo also stresses the importance of human contact in the film and audiovisual professions. Meetings, exchanges and discussions with professionals can guide a career path, open up possibilities and give a better understanding of the expectations of the sector.

“Contact is really important if you want to be able to work in different professional environments.

Her experience with the VFX supervisor on Blade Runner is a case in point. A simple message can lead to a concrete exchange, as long as you formulate a clear request and have a project to show or explain.

For students, this can make all the difference. Technical skills are important, but they are not always enough. Knowing how to present your work, ask questions, listen to feedback and maintain professional links is also part of the apprenticeship.

A pathway between VFX, advertising and AI

Théo Constant’s career path shows a progressive trajectory: an initial interest in visual effects, general training in cinema, a specialisation in compositing, and then entry into a professional environment where AI tools play an increasingly important role.

His current work lies at the intersection of several practices: traditional post-production, visual effects, advertising and artificial intelligence. It’s a combination that requires you to keep your finger on the pulse, but also to maintain a solid foundation.

In his interview, Théo describes a changing profession, but one that is not disconnected from its fundamentals. Software is changing. Workflows are expanding. AI tools are opening up new possibilities. But the work remains linked to the need for images, realism, coherence and storytelling.

His advice to future students can be summed up in a few simple ideas: learn the basics, stay curious, don’t censor yourself too quickly, meet professionals and keep experimenting.

“You have to be curious. Don’t let your ambition stop you.