What I do for you as your VFX Supervisor:
SCRIPT BREAKDOWNS AND BUDGETING
From an outline or early drafts of your script, I start breaking down what the potential effects are and the methodologies we'll use to create them. Then I solicit and compile bids from your vendors, and help you refine your use of VFX to fit your project's budget and schedule.
HISTORICAL AND TECHNICAL RESEARCH
As a former production designer, I know from experience how critical research can be when producing a historical drama, or when using CG to represent a technology that has to look and function 100% accurately.
I'll do the deep dives necessary to make sure the VFX work gets your director and production designer's stamp of approval for accuracy.
For non-environment effects, I work with your entire team to make sure we're all imagining the same effect in our heads, so all departments know in advance what the effect will be and how it will look when it is complete, Then I distribute creative briefs so that every department knows what they will need to do to support this look via lighting, set decoration, props, and practical special effects. This saves you time on set and money in post and gets you the best possible looking effect with the fewest revisions.
DIRECTING CONCEPT ART
I work with your art department, freelance concept artists, or VFX vendors to develop concept art for the CG environments we'll be creating as backgrounds for your show.
Concept art of an abandoned futuristic amusement park for DOCTOR WHO "Nightmare in Silver"
Concept art of a giant underground farm for THE PERIPHERAL.
As needed, I will distribute technical memos outlining specific technical needs for filming on the day - such as green/blue screens, lighting effects, makeup effects, cameras and lenses, and practical special effects. The goal is to have no surprises on the day, and everything ready and waiting when we get to set.
I'll work with your director and DP on set -or- train a local supervisor to do the job under my direction while I work in post with your editors. I'll make sure we get all the neccesary set data including camera information, set surveys, HDRI images, and LIDAR if neccesary.
I have supervised sets and plate shoots throughout the U.S., Canada, Wales, and Croatia. Travel is not a problem and expected in this industry. I've worked everywhere from the middle of a frozen lake to an abandoned European mine to the deserts of the American Southwest.
POST VFX SUPERVISION
In post, I work with your editors, in-house artists, or outside vendors to get exactly the effects we agreed upon in pre-production. And if our needs change in post due to revised story needs, new ideas, or editorial changes, I'll work with the team to change directions gracefully and with the minimal possible budget impact.