POST
HIGH-END TELEVISION CRAFT
ARTEMIS OIKONOMOPOULOU, SIMON STANLEY CLAMP
the sets and locations and the space you will be dealing with. Planning and visualising what may come is essential but sometimes you will have to think on your feet on the day.
VFX Supers, Cinesite, CINESITE: Fate: The WINX Saga; Tribes of Europa; The Witcher; Avenue 5; Dark; Locke & Key; Lost in Space
AO: On Set, the VFX team would try to arrive with plenty of time before call. Usually, you would catch up with the Director, DoP and the first AD to discuss and finalise the plan for the day. Depending on the shoot needs, VFX would try to liaise with the rigging and grips department to coordinate any green or blue screens needed or discuss any lighting issues that might arise. It could also be necessary to talk to stunt, costume or the props department for any specific needs. During the day, you have to be on hand to the director in case any questions arise and keep eyes open for any potential issues that might not have been called out as VFX. You also have
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to be on top of the rest of the VFX team to you make sure they capture all the details necessary for post.
AO: You have to go as well prepared as possible before a shoot. There will hopefully have been enough conversations beforehand with other departments to make sure you are aware of potential issues and needs and figuring out how to best shoot challenging scenes and request any equipment necessary. There may be a need for previs for certain scenes or working out any limitations due to the size of a shoot location and cameras. There would have hopefully been enough recces to familiarise with
AO: There are fundamental basics VFX will need to successfully and cost effectively complete shots in post – tracking markers, clean plates, enough camera and on set reference. The more data you and the team can capture the better however small, as you can never go back and re-collect that information. However, time is very precious on set, so you sometimes have to balance post requirements and know when you have to let some stuff go and make do with what is possible.”
AO: As a VFX super you need a balance of artistic and technical skills- you need to have a good eye but also an understanding of how to achieve something technically. The relationship with your director needs to be one of trust and you are responsible for interpreting their vision. Your responsibility to the team is to guide them towards that goal as efficiently as possible.”
SSC: VFX can be seen as part of the directing process. For instance, during the transformation sequence in Winx, we did a test day with a stunt double who went through the motions and we were exploring what could be done with the flying rigs. We shot greenscreens using a variety of rigs, cables, a tuning fork, a Hong Kong sling to get a range of movements. I did a mini cut of that, presented that and that formed the basis of the moves we did with Bloom the actress on the day. She wasn’t able to do all of the stunts that the stunt performer could do, but for many of them she trained and worked very closely with the stunt supervisor to get a full range of movements and those are the movements that go into the final fire transformation. On set my iPad was always loaded with reference materials, animated clips of the barrier so students could see what it would be like to push through, examples of what their eye effects would look like and extensions on Alfea the building so they knew where to look and how big the building was going to be that they’re actually performing in.
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