Visual Effects Supervisor Photo Credit Avatar - Daniel Leduc
WHAT DOES A VISUAL EFFECTS
SUPERVISOR DO? (In the Entertainment industry.)
What Does A Visual Effects Supervisor Do?
Definitions
Note that there is no union position for visual
effects supervisor, there’s no certification process for this role and there is
no standard to how any of this works so I’ll be describing what is industry
practice.
A Visual Effects Supervisor is in charge of the
creative and technical issues of visual effects on a project. This position
starts in pre-production and continues through the completion of the visual
effects in post-production. This can span 1 to 2 years on a large project. The
supervisor typically works with a visual effects producer who focuses on the
budget and schedule aspects of the work. If the project has a large amount of
animation then there will be probably be an Animation Supervisor as well.
Computer-generated imagery is now as vital a tool in
film and television production as the script or the actors. Even low-budget
shows reserve some funding for the most basic of digital post-production. The
visual effects supervisor is the creative and technical manager, overseeing the
work of the staff dedicated to the art and science of VFX.
These days there’s likely to be multiple visual
effects supervisors on a visual effects film. If the film has a large number of
shots then it sometimes makes sense to split up the work with each supervisor
overseeing specific sequences to provide the attention required. In this case
they may be referred to as co-supervisors. Associate Supervisor is sometimes a
title given to someone who is moving up into the role of supervisor and who has
a smaller number of shots compared to the other supervisor(s) on the project.
Senior supervisor is sometimes used as an honorary title given to someone at a
company who has been at the company a long time and who is able to step in if
there are problems on a show.
Given the increase in visual effects shots on a show,
the reduction in post-production time allowed by the studio and in an effort to
count every bean by the studio, work on a large effects driven show is
typically spread over multiple companies. Each company handles specific
sequences or types of effects and these companies will have their own visual
effects supervisor. The film production or studio may hire a vfx supervisor or
at least a vfx producer to oversee the work of these companies.
A Plate supervisor is usually a visual effects
supervisor who is just involved in the live action or shooting background
plates. Plate is the term used for footage that is shot to be used for visual
effects. This can be a foreground, background or other elements. With or
without actors. (Elements are all the different images used to make up the
final shot). The plate supervisor may be hired so the main supervisor can
continue to oversee the work back at the VFX Company or studio. A plate
supervisor may also be hired to shoot specific images half way around the world
while principal photography is being done.
Start up
When a film has been greenlit (approved by the studio
to proceed into production) or close to greenlit then the film production
(director, producer) works with the studio head of visual effects if there is
one. This position is primarily a producer type of role to oversee multiple
films in various stages of production. This office usually has their own list
of approved vendors (visual effects companies) which they forward the script
to. They would also play a role in hiring a visual effects supervisor and
visual effects producer for the film if there is one.
Each VFX company has their own supervisor and
producer breakdown the shots and bid on the show. If there is a show VFX
supervisor and producer they review the bids and work with the studio visual
effects department to award the work to different companies.
Pre-production
The supervisor works closely with the director to get
a sense of what the director is looking for on each sequence and each shot.
This is done by employing concept artists, storyboard artists and previs
artists to create visual guides. The idea is to solidify the vision of the
director and allow the supervisor to work out the technical aspects of completing
the shot. The supervisor decides which techniques to use and what will be
required when the live action is shot. This is usually done with involvement of
the VFX departments and/or companies. If the visual effects supervisor works at
a company he/she usually determines the key players (CG supervisor, sequence
leads, etc.) with the aid of the VFX producer.
Most visual effects work happens after filming but
some things such Research and Development (R&D) and model building
(physical and computer graphics) can begin earlier. The supervisor will be
overseeing this during pre-production. This can be time critical if the R&D
will determine the best way to photograph a sequence. The pipeline may also be
developed or adjusted for the type of project during this time. Pipeline is
essentially the workflow through the facility and the software tools to help
that process. (Databases to track elements, computer scripts to move or
configure files, etc.)
The supervisor works with the other film production
department heads (Director of Photography, 1st Asst. Director, Production
Designer, Special Effects, Stunts, etc.) to outline the VFX requirements during
filming. This can cover blue screen, motion control, special lighting, etc.
Production
The supervisor is involved in all the live action
photography that requires visual effects. This can mean 6 months in a distant
country or months on a sound stage. If multiple companies are involved with a
large number of shots they each may send their own supervisor when one of their
sequences is being filmed. On a large show it’s common to have a 2nd unit. This
can be a full crew with it’s own 2nd Unit Director to film action sequences or
other sequences and shots that don’t require a lot of the principals (main
actors). This will require an effects supervisor as well if the work involves
visual effects. Plate supervisors may be employed to help oversee this work
depending on the volume of work and schedules.
If there are issues with the actors (eye line,
timing, action with a creature to be added later, etc) I tend to discuss it
with the director for him/her to guide the actor. This avoids problems with the
actors getting multiple and contradictory instructions.
This may seem like a lot of work but a huge amount of
the success of a shot is based on it being filmed correctly to begin with. This
means making sure the actors eyelines are correct, the lighting matches the
situation when possible, clean plates and information is gathered at the time
of photography (lighting references, match move markers and data, etc)
One of the most detrimental decisions a production
can make (from a cost and quality stand point) is when they attempt to shoot a
visual effects shot and have you just ‘fix’ it later. And believe me if the
supervisor turns his/her back for moment production will try to get off a shot.
This is most likely to happen when the director has done a previous effects
film and ended up with good looking shots despite problems shooting. What they
never see is the amount of work and extra costs any of this entails.
I’ll probably do a blog post sometime about the ins
and outs of plate photography.
Post Production
Once the footage has been shot the film moves into post
production. Ideally editing has been proceeding even during production and some
sequences have been locked so visual effects work can begin even during
production. As sequences are edited they are turned over by the director to the
supervisor and the visual effects team.
How the work proceeds and how it’s structured is
determined largely by the supervisor and producer. Sometimes it’s best to rough
in quick animation and composites for all the shots of a sequences. That allows
the director and editor see a sequence in context and see if major changes are
required before you final every shot. If the director has a difficult time
visualizing the supervisor may have to wait until the shots are further along
before presenting them to the director. Some directors have difficulty making
decisions based on ‘plastic’ animation renders so these would need a higher
level of rendering.
Production may require reshoots months after
production if there are editorial or technical issues with the footage.
Additional background plates may have to be shot for sequences, especially if
there has been a change from the original plan. Once again these would require
an effects supervisor or plate supervisor.
Dailies
A supervisor’s day usually starts with review of
dailies. I typically review them on my workstation and make notes before
stepping through with the team or individuals involved. Even spending a few
minutes per shot adds up with you have quite a number of shots in production.
As much as you try to balance the schedule invariably you have a large number
of shots to be reviewed as you get close to the final deadline. This can mean
spending the entire morning reviewing shots. Trying to balance a pat on the
back for the work done so far on a shot and encouragement with the need to list
the items still need to be completed to finish the shot is a tough. Usually the
pat on the back is the first thing to go as the schedule gets tighter. It’s no
disrespect to the crew members, just the realities of getting a large volume of
work done.
In the afternoon the supervisor may have meetings to
review scheduling, budgets, new sequences, R&D status etc. He/she may have
to present the director the latest shots or sit down with individual artists to
discuss any updates/changes from the morning dailies.
The supervisor usually puts in the same hours as the
rest of the production crew. 10-12 hour minimum. 5-7 days a week.
Finals
The director is involved in all decisions from the
approval of the original designs and through to the final shot. The director
has to buy off on the animation before the final rendering and compositing is
done.
One of the things the supervisor has to do is work
with the director on getting shots finalized (approved) in a timely manner.
It’s very easy to get too focused on every detail in a shot, especially if
you’re looping the shot over and over on a computer. Matte lines and added
elements can always be tweaked more. Unfortunately if you have hundreds of
shots to do in a limited time and the supervisor or director becomes too picky
or tweak happy then the first shots will look great but the last batch of shots
may look awful. For this reason there’s usually a number of target finals to
accomplish per week in order to meet the deadline. Any shots that aren’t done from
the week before are now added to the number that need to be completed in the
current week. The idea is to create a balance so all the shots hold up and work
within context of the film. If you can view it in context (with surrounding
shots) 2 or 3 times without noticing a problem then it’s done.
Projects
It’s important to note that how a specific supervisor
gets assigned a specific project can be very haphazard. The studio or
production select what companies to send the script to for bids? This can be based
on previous experience or the phase of the moon. For a supervisor who works at
a vfx company, the company acts as an agent and manager. They may assign a
supervisor based on who’s available from their internal supervisors at that
time or who’s under a contract with them. Qualifications for a specific project
may have little to do with the assignments.
Since projects take a long time (1-2 years) a
supervisor may have to turn down other projects since there’s already a
commitment for the current project. Project offers come in one at a time so the
supervisor has to decide if he wants to take it or pass and hope something
better comes soon. How soon that next offer comes in is unknown. You’re never
offered multiple projects at the same time from which you get to choose.
The supervisor has to take in to account the creative
issues, technical challenges, and the manner and film history of the director
and the time away from their family when deciding on whether to accept a
project. Is it better to accept a mainstream big project or an art film? Is it
better to do a few, simple effects shots for a high quality film or is it
better to do a large number of challenging shots for a simple action film? Each
supervisor has to make a call given the situation at that time.
Requirements and guidelines for a visual effects
supervisor:
- A good visual effects supervisor is a bit of jack of
all trades…
- Knowledge of a wide range of visual effects
techniques and positions…
- Experience dealing with a wide range of visual
effects techniques and positions. As good as some training material is there’s
still nothing like true hands on experience. If you’ve had to paint out a rig
or extract a key from a poorly shot bluescreen you’re more likely to think
twice and make sure it’s shot correctly. If you haven’t done it you may hope to
just toss it into the black box and expect it to come out ok…
- Ability to visualize shots and review them in detail
within the mind’s eye before they’re shot…
- Creative eye. Knowing composition, cinematic design
and animation timing…
- Understanding of photography and lighting. Knowing
what’s looks real and what looks cinematic…
- Good communication skills. Discussing a visual or
technical issue with a director and also being able to turn around and discuss
it with the technical team in a manner appropriate for the listener. The
director shouldn’t need a translator…
- Get in sync with the director’s vision. After working
with the director awhile you should have the ability to predict how they will
react to a given specific shots or issues…
- Good working relationship with the director. The
director has to have trust and confidence in the supervisor and the supervisor
has to work for the director. The supervisor may provide his guidance and ideas
to the director but at the end of the day it’s the director’s decision…
- Know your battles. Knowing when it’s worth fighting
for an extra 10 minutes on stage and when it’s not. When is it worth pushing a
specific creative viewpoint or when it’s worth trying to get an updated
animatic…?
- Problem solving. There’s always problems to solve.
Technical, creative, logistic and scheduling…
- Thinking quickly. Time is money on a film set and
when things change the supervisor has to step in make adjustments while keeping
in mind the impact in the rest of the process. You always have to be
considering several moves ahead as in chess…
- Management and people skills. Dealing with a number
of different types of personalities (on the live action crew and visual effects
crew as well as the director) and trying to keep everyone focused on the goal…
- Attention to detail. Keeping an eye on large and
small details that will make a shot finished…
- Organized. Each shot has to be broken down into each
element and how those elements are to be generated or filmed. Any feedback from
the director has to be noted and executed…
- Team work Film making and visual effects are both
team efforts and will require everyone to work together. The supervisor has to
take key responsibilities and at other times be able to delegate to key members
of the team. He/she has to be open to listening to members of their crew. Try
to surround myself with the best and smartest people in their jobs…
- KISS Keep it simple stupid. It’s difficult enough to
do the work without making everything extra complicated. Is an elaborate
process or 20 extra elements worth it for a 2 second shot..
- Budget and time. The supervisor has to keep in mind
the budget and time when selecting the techniques and figuring out the pacing
for the work. If you run out of time or money before completion the results
will show it and it won’t be pleasant for anyone…
- Think outside the box. The first solution that jumps
into your mind may not be the best. Consider it from all angles and all
trade-offs…
Living with changes. Everyone working in visual
effects has to take changes in stride. The director may change his mind
completely after you and your crew have spent a lot of time and effort
finishing a shot or sequence. It’s a creative process so that’s the nature of
the beast.
Tolerance and balance. The supervisor becomes the
fulcrum of production (cost, time) and the artist requirements. If you’re at a
VFX company, management and the vfx producer will want you to ‘sell’ the shot
to the director as quickly as possible. Yet you’ll have an obligation to the
director to make sure the quality of the work and their vision is maintained.
I’ve had producers tell me to tell the director he/she can’t do something.
Being placed in the middle of political film production issues is no fun. The
studio can also become involved in this process, especially if the film has
gone over schedule or budget. Awkward for all involved…
Thick skin. The supervisor may be yelled at for
things out of their control or may be berated for doing something a specific
way (even if it’s exactly what the director had requested the day before)…
Becoming a visual effects supervisor
First you have to decide if becoming a visual effects
supervisor is what you want to do. It may sound great but it involves a large
amount of pressure and politics.
There’s certainly something nice about focusing on a
specific aspect and doing a great job compared to being pulled in multiple
directions. A supervisor seldom get much hands on effects time and getting work
becomes more daunting since there are a limited number of visual effects
supervisors employed compared to technical directors or others in the visual
effects crew.
If you’ve only worked in one area of visual effects
then you’re likely to try to solve every visual effects shot with those
techniques. I’ve seen people who only had physical model experience trying to
create an effect with a physical model that would have been easier, faster and
more importantly, better done with an animation camera. I’ve seen other people
try to write elaborate software programs for something that could have been
filmed and composited in a fraction of the time.
These days most people employed in visual effects are
assigned to a specific area of work. I was fortunate enough on my first film,
Close Encounters, to work in most of the departments (Motion control, model
photography, animation camera, matte camera, and R&D and model shop)
It’s up to you try to try to keep moving up in your
area and to expand outward. Talk to your employer and see if you can help out
in other areas or take training in other areas if they offer it. Some VFX
companies like to have people who can accomplish a number of different tasks.
Animation and technical directoring, match moving and writing shaders, etc.
Try to get on to a set to see how things work. Most
people working behind the computer screen have no idea of the issues involved
in the shooting process (‘and why didn’t they shoot that other element on the
set’). It can be helpful for a technical director to work as a match mover or
data collector as an example.
If you’ve only work with computer graphics try to get
some experience with miniatures and vice versa.
Sources, References & Credits: Google, Wikipedia, Wikihow, WikiBooks,
Pinterest, IMDB, Linked In, Indie Wire, Film Making Stuff, Hiive, Film Daily, New
York Film Academy, The Balance, Careers Hub, The Numbers, Film Maker, TV Guide
Magazine, Blurb, Media Match, Quora, Creative Skill Set, Chron, Investopedia,
Variety, No Film School, WGA, BBC, Daily Variety, The Film Agency, Best Sample
Resume, How Stuff Works, Career Trend, Producer's Code of Credits, Truity, Production
Hub, Producers Guild of America, Film Connection, Variety, Wolf Crow, Get In
Media, Production Beast, Sony Pictures, Warner Bros, UCAS, Frankenbite, Realty
101, Careers Hub, Sokanu, Raindance, Film Connection,
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Visual Effects Supervisor Photo Credit Avatar - Daniel Leduc
