ON set What does a VFX supervisor do?

VFX supervisors on set are in charge of the whole VFX project. Above all they manage the VFX pipeline, including all of the VFX artists that work in this process. As well as they have ultimate responsibility for all of the VFX elements produced for a project by their company or studio.

Further VFX supervisors on set work on a project from the early stages of preproduction. Above all they are the main point of liaison. Between a VFX studio and the director or producer of the film or TV programme. For instance, they decide on what VFX is needed for every shot of the film. In addition VFX supervisors then work with the VFX artists to create prototype materials to present. Above all these can include concept art and 3D computer-generated images (CG). In particular the prototype materials help to inform the style of the VFX in the production.

After that VFX supervisors are present for filming during production. Most important that they can see if the shots are satisfactory and ready for the VFX elements. To rephrase it, VFX studios prefer if shots (pictures) are ‘locked’ (edited and okayed, ready to have VFX elements added to it) during filming. As well as, they can start working on the VFX and while the rest of the film is being shot.

Accordingly VFX supervisors continue to lead their team as well as when the film is being put together during post-production. In addition they oversee the quality of all work produced and make sure that it is in line with the vision.

Above all depending on the size of the production. In contrast, VFX supervisors, may be employed on a single film for up to two years.

ON set What does your role involve?

After that, a visual effects supervisor, I head up the visual effects (VFX) team. In addition, there can be a lot of people involved in the creation of VFX for a film – we have around 1,500 people for a film like Fantastic Beasts! Above all I keep across all of those different parties, collaborating with them to make sure, as well as we have everything we need to bring our vision to life.

Because when I get a film script, I break it down and work out with the producers what VFX we need. Hence we agree on a budget and then work as well as with storyboard artists and the director to start visualising it. After that we also begin collaborating with other facilities we’ve chosen to work on the film. Therefore pre-production stage is very creative – we’re creating what you’re hopefully going to pull off in filming and production.

What have you worked on?

Since I worked on some of the Harry Potter films. And have gone on to work on the first two Fantastic Beasts films and now the third. Above all outside the Wizarding World. Above all I’ve worked on a range of projects, from Dr Who to Nanny McPhee and the Big Bang.

For example on the Fantastic Beasts film. In addition I worked closely with production designer. Stuart Craig, and concept artist. However Dermot Power, to work out how to bring Newt Scamander’s magical suitcase to life. However he has to be able to walk down stairs into the suitcase and enter a magical world concealed within. As well as there was a lot to figure out about how to make that a reality!

How did you get your job?

Above all there is no direct path. In studying Illustration at uni, I was exposed to animation. And my tutors began to show a possible path into the post-production. Further getting my job as a runner at Framestore  creative studio was the start to my career. Since then, hard work and the willingness to take on challenges has seen me progress to where I am today.

How have you tackled challenges you’ve faced?

To clarify life in the VFX and film business is all about challenges and setbacks – much like lots of jobs. For instance I tend to overcome them by collaborating with the teams. Above all I’m working with as well as never be afraid to ask questions and working hard.

For example Fantastic Beasts’ Newt Scamander with his magical suitcase.

What’s your career highlight?

For instance As a closet Dr Who nerd, designing the Matt Smith title sequence was pretty cool. Above all getting the VFX supervisor gig alongside Tim Burke on the first Fantastic Beasts film – as well as having a creative hand in the start of a new franchise was a fun challenge.

on set Christian’s top tips

Firstly passion in the film area as well as learning everyday. Above all be prepared for each day. Thus always ask questions and never hesitate.