The ComputerCafe Group just delivered a sequence of about 80-100 shots for Speed Racer. © Warner Bros. Pictures

BD: It will keep your character team busy, I'm sure.

JB: There's actually a lot of environment work as well.

BD: Sounds like you're becoming more diverse.

JB: We still don't know what we want to be when we grow up.

BD: Let's switch gears and talk about your new role as chairman of the VES.

JB: I was very honored to be chosen for that position. I didn't totally expect it.

BD: How much campaigning goes on?

JB: Basically what they do is every year positions get voted on, and some people term out, and this last year we had a big term out for board members. I'm told it was one of the biggest influxes of new board people that they've had for a while. I hadn't considered running because I'd only been on the board a year before that -- actually a board alternate. Somebody mentioned to me that I should consider it. I said it was very flattering but no thank you. Then a couple of other people mentioned the same thing, so it started getting me thinking about it. And I talked to some past board chairs to see if I could contribute in some effective ways to the society. I went back and forth on it for a while and thought I would do it if I could make a difference in some constructive way. So now they have me doing that and it's great because it gets everybody in a room that have a diverse background in visual effects. It's very interesting because you get exposed to a lot of challenges and concepts that you normally wouldn't get exposed to if you're in a specific sector of the business. With visual effects, like anything else, there are a lot of specialties, as you know. So sitting with that group -- and there are some very experienced people that I have a high regard for -- so, quite frankly, the first meeting was a little intimidating. I'm starting to settle in now.

John Adams was a big project for Barnes and his team. They created about 400 shots comprised of matte paintings and set extensions. © HBO.

BD: Let's talk about some of the challenges.

JB: Well, I can talk to you about things we're trying to do. We're trying to basically set a new direction for the Society. In the past, there's been some controversy over what the Society provides to its members. We are a Society, not a guild or a union, so I think sometimes people confuse us with one of those. And we are global too. People may want answers to concerns that are happening in the States, but we have to be mindful of our global commitment to the community.

BD: Speaking of which, the VES is partnered with fmx for the first time this year in Stuttgart. And you will be speaking about globalization.

JB: Yes, I look forward to attending next month. So it's very important that when we consider various aspects of an issue that it's something that benefits the Society globally. So we're very excited about a new direction, where we're trying to form relationships with other guilds and groups like the ASC and the Art Directors Guild. We're talking with them about doing some events in the future.

BD: In fact, I had the pleasure of moderating a previs panel for the Art Directors Guild in December.

JB: I really wanted to go to that and heard it turned out great.

BD: Yes, it introduced an important dialog between various groups.

JB: Basically, a lot of our members are very technically savvy and act as a kind of glue to the other practioners in terms of art direction and cinematography. But the whole landscape is changing because of the digital workflow.

BD: Yes, there's a whole new paradigm.

JB: Yes, there is and some people are embracing it and some are intimidated by it. We feel to some degree that it's a little bit our responsibility because we are considered by many to be the experts in that area to help forge pipelines and understandings between the other organizations, so we can all be more productive together. So that's really what the new direction is all about, and educating the key decision makers on the studio level about the importance of visual effects.