POST & VFX


VFX SUPERVISORS CRAFT


RUSSELL DODGSON


CREDITS His Dark Materials; Mars; Black Mirror


I find myself being involved in projects earlier and earlier. Visual effects have become a large part of how many projects are executed and the earlier VFX Supervisors are involved, the better chance there is of finding the best way of getting the VFX budget on screen. This can mean being involved at a script or previs stage to help shape visual effects sequences or, more recently, with the increase in use of Virtual Production, can mean working with production designers to actually prepare the virtual sets and locations that will be filmed.


Part of what I love the most about the role of Visual Effects Supervisor is how collaborative it is and how many departments you have to work with, although it makes thanking everyone difficult when we are lucky enough to win awards. Storytelling is a team sport and it is amazing to work with such a wide range of talent. It also means that every day is an education because you get to learn from other people that are also brilliant at their jobs.


The VFX process on a show is a journey through many different


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phases. During the shoot phase a VFX Supervisor’s responsibilities are to both the creative and financial needs of the project. Firstly, you have to ensure that you have worked with the script team and our VFX producer to be sure that what is being shot is going to be good and can be afforded. Secondly you have to work with your VFX on set team to make sure you are acquiring all the necessary camera, lens and lighting information.


Once a show goes into post the role of VFX Supervisor is somewhat similar to that of a conductor. At this point it is about creatively guiding the visual content. The thing I have learnt over time is that it doesn’t always have to be my version of right or be executed exactly the way I would do it, it just has to be right for the project. The more agency and input artists have the better the work you will receive. For example, when it comes to animation I like to compare the relationship I have with the animators as one of Director and Actor. I try to focus on the meaning of a scene and the role the animation has, I then like the artists to offer back performances.


Soft skills are the most important. You have to win hearts and minds, keep a crew inspired and enthusiastic, build trust, be creative yet flexible. If people don’t want you around or find you hard to work with you won’t end up in the rooms and conversations you need to be in to effect change and do your best work. There is an obvious need for technical knowledge but you can always surround yourself with technically brilliant people!


The use of the LED volume and virtual production are obviously tremendously hot topics. There was a growing buzz around the ideas and the technology already, but things really gained pace when the world hit lockdown. We’re only just beginning to see how in-camera VFX might be applied to a wide range of storytelling.


Perhaps the key trend we’re now seeing is the sheer demand for VFX work from the combination of productions coming on-line post- lockdown, the global demand for content and the boom in the number of studios and streamers.


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