CRAFT HIGH-END TELEVISION
POST
VICTOR TOMI
In the case of Bridgerton, I came on board as the VFX supervisor during pre production, when the project was being not only creatively developed but also the technical plan of action was being set. The VFX process is more seamless if post is aware of what is happening before and during the shoot.
It is very likely that a bidding process needs to happen before the work is awarded. This happens at a studio level, although as supervisor I was picked beforehand on Bridgerton to be involved at this bidding stage and to carry on the necessary tests or concepts to win the award.
Picking a supervisor depends on the type of work that is expected and what specific background this person has. In my case and Bridgerton, my 2D experience helped me get attached to the show. Having two proficient 3D and 2D leads by your side is also
essential to building a strong supervising team. The starting point of any project is sitting down with the director and talking about what part of their vision is not possible to achieve on camera. Then suggesting creative solutions to this which leads to concept work and agreeing on a certain look. Then take it from there.
In terms of pre-shoot, there’s concepting in order to establish a certain look or style that might encompass art direction or costume. But also previs renders of environments or character animations that need to be established in order to place and move the camera on set in a certain way. If you are adding elements to a shot, the DP should know what will end up in that shot before he points the camera to a specific angle.
Once you’re on set, you’re making sure any sequences
VFX Super, One of Us Bridgerton, The Crown, Aladdin, Tolkein, Assasin’s Creed, Miss Peregrine’s Home for Peculiar Children
that involve VFX are shot in the most optimal way for post, and take as much reference and information as you can. There are never enough reference photos, especially when there is no time to shoot clean plates. Also don’t take for granted that everyone on set knows the basic principles of VFX; it can be helpful to explain why it’s beneficial to shoot things a certain way.
After the shoot has ended, I like to find the balance between regularly showing the director our progress
and picking the right versions to review. The time spent on a shot or an asset doesn’t necessarily affect the frequency of a session with the director. It’s more about designating which steps in the process need feedback on before moving forward. You might have to see all the elements together to know what is going to work for your scene or not. In any case, regular communication is key to make sure the director and the visual effects team are on the same page - I am always up for live sessions, in person or virtually.
Spring 2021
televisual.com 91
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112
