![]() ![]() I may suggest how we build things practically, digitally, or strategic combinations thereof. I may discuss pacing, rolling a cut, head and tail trimming to make a cut better, but I NEVER sit at the Avid. I may at times discuss exposure of greenscreens, lighting strategy, or be asked to paint out unwanted equipment, but I NEVER hold a light meter. I may at times need to help create a vision, or even direct 2nd Unit, but it is NEVER my vision. I find that to be truly effective I have to be 25% Director, 25% DP, 25% Editor, and 25% Production Designer. I usually ask to have an office in the art department or at least nearby. “It’s their world, I just live in it,” I might find myself uttering early in a project. Deciding on projects is driven by creative chemistry, past experience, or future confidence with directors and showrunners, but executing that vision really starts in the Art Department. After a hopeful mind-meld with the main creative, I look forward to this relationship. No matter who hires me, or when I come on, usually the only department head hired before me is the Production Designer. I’ve been hired by the director for films, the showrunner for TV, occasionally a line producer, and sometimes even studio execs. ![]() A VFX Supervisor is one of the earliest hires on any given VFX-Driven Production. I’ve been supervising visual effects for TV & Film for 23 years, and one of the most vital relationships is the one I have with the Production Designer and how I interface with their art department. ![]()
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