VFX Production On-Set: Becoming a Visual Effects Supervisor | Vicki Lau | Skillshare

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VFX Production On-Set: Becoming a Visual Effects Supervisor

teacher avatar Vicki Lau, Multi-Hyphenate, VFX Pro, TEDx Speaker

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

45 Lessons (3h 19m)
    • 1. Who am I and Who are you?

    • 2. Path to Becoming a VFX Supervisor

    • 3. The VFX Bidding Process

    • 4. How and What to Supervise

    • 5. Understanding the Film & Visual Effects Process

    • 6. The VFX Supervisor

    • 7. The VFX Producer

    • 8. The VFX Production Coordinator

    • 9. VFX PAs

    • 10. VFX Studios & In-House Teams

    • 11. VFX Post-Production Supervisors

    • 12. Script Analysis and VFX Breakdown

    • 13. Working with the Director

    • 14. Working with the Director of Photography (DP)

    • 15. Working with your VFX Team

    • 16. Working with Production Design

    • 17. VFX Shot Design and Previz

    • 18. Establishing VFX Pipelines

    • 19. Choosing Vendors & Team Members

    • 20. The VFX Supervisor's Toolkit

    • 21. The VFX Supervisor's To-Do List

    • 22. Preparing VFX Props for Production

    • 23. Setting up Green Screens for Production

    • 24. Capturing Set Data for VFX

    • 25. Working with the Camera Crew

    • 26. Specialized Equipment for VFX Production

    • 27. Working with Virtual Production

    • 28. Prepare Your VFX Supervisor Toolkit

    • 29. Prepare your Green Screen with Tracking Markers

    • 30. Capture On-Set Data

    • 31. Stereoscopic Production and Post-Production

    • 32. Virtual Reality or Dome Production and Post-Production

    • 33. Understanding the Editor's Workflow

    • 34. Working with Production Data

    • 35. Color LUTs

    • 36. Working with Post-Production VFX Supervisors

    • 37. Draft VFX with Postviz

    • 38. VFX Finaling & Post-Production

    • 39. Dailies & Editorial Review

    • 40. Things a VFX Supervisor Wished You Knew

    • 41. VFX Production Best Practices

    • 42. The VFX Supervisor & VFX Producer

    • 43. The Thing about Supervising

    • 44. Stay Tuned for More!

    • 45. Bonus Lecture: "How to Get a Job in Hollywood"

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About This Class

Always wondered if there was more to visual effects than just sitting behind the computer screen?

If you are the kind of person that loves the outdoors or simply want to find out how to apply your visual effects knowledge to a film set instead of directly onto a film shot, this course will take you through the journey and process of becoming a visual effects supervisor for any live-action film production.

Enjoy the Best Part of the Visual Effects Industry - On-Set and with the Director and Actors.

Learn by doing and preparing your very own visual effects on-set methods, team and toolkit by following these steps from pre-production to post-production of your very own visual effects shot that will put your supervision skills to the test.

Why This Course?

  • Taught by someone who has amassed¬†experience in both¬†film production, visual effects supervision as well as post-production visual effects on short and feature films

  • Step-by-step walkthrough from pre-production to post-production of a visual effects production¬†with¬†captured footage from film sets¬†and useful production¬†documents

  • Detailed insights and know-hows from real industry experts that would¬†save you time,¬†money as well as your reputation¬†when supervising on-set and working with the director and cast

  • Unique behind-the-scenes footage and clips from various productions and Hollywood studios

Move Beyond the Computer Screen to Working on Studio Lots and Experience the Best of Both Worlds - Visual Effects and Film Production.

You will Learn How: 

  • To work your way into becoming a visual effects supervisor

  • The visual effects bidding process works

  • To identify key team members and¬†visual effects vendors to work with

  • To supervise and lead visual effects productions from pre-production to post-production

  • To work with members of the crew including the director, director of photography and production design

  • To capture and utilize on-set data and information for visual effects

  • To prepare for a visual effects shoot

  • Visual effects supervisors think and plan

Complete with additional resources, and a fun and engaging live teaching style (alongside multiple industry veterans), students who complete the course will also be welcomed to connect with the instructor for additional educational or collaborative opportunities.

If you participate in this course, you will walk on a film set more empowered and confident, able to command your visual effects crew to ensure that they dress in the right shade of green and pull off the most impressive post-production-saving moves ever - 

Because you know what they say about fixing it in post. Don't.


DISCLAIMER: the thoughts and opinions of all speakers in this course are not representative of any organization, company or business and are to be taken as personal opinion and insights shared only.

Meet Your Teacher

Teacher Profile Image

Vicki Lau

Multi-Hyphenate, VFX Pro, TEDx Speaker


Vicki started as a humble student of digital media back in the small city of Singapore with a background in visual effects in film and television and computer programming. Without any contacts or connections in the United States, she began her career at the age of 18 from Singapore, working her way up into the Hollywood film industry and landing her first break working on AMC's hit series, The Walking Dead (Season 4), as well as other movies such as Guardians of the Galaxy, War for the Planet of the Apes and the recent Aquaman.

Already recognized by her country and by major organizations as an expert in her field, Vicki has made great strides for someone her age, being in consistently high demand for jobs - averaging about 4 job offers and requests for intervi... See full profile

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1. Who am I and Who are you?: greetings and welcome to Ah one and only visual fix production on set. A cause on becoming a visual effects supervisor because covers the ins and outs of becoming a visual effects supervisor on set and are imposed especially for those visual effects artists who are just also tired off sitting behind a computer screen, screaming at pixels all day. What are you currently in? Visual effects artist wanting to break out of studio seats on to set or aspiring a new filmmakers working on a sci fi film? This massive, comprehensive interview and production footage filled costs will definitely expend your knowledge off the inner workings on set and in the minds off the visual effects supervisors . Today, you'll learn what a visual effects supervisor is, how their role works from pre production to post as far as check out cool exclusive footage from actual green screen studios, working studios and visual effects veterans sharing their stories and insights. Now, how cool and rare is that, right? So who am I to be teaching you this subject? While quite simply, I'm someone who has worked in a Hollywood film and visual effects industry for a number of years. I was involved in the visual effects and post production work and TV hit series such as AM Sees The Walking Dead, Hemlock Growth and blockbuster movies like Marvel's Guardians of the Galaxy, War for the Planet of the Apes and Aqua Men. If you need more credentials, feel free to look me up when I'm db a look at my instructor bio for this cause. Speaking of credentials, it is introduction young time. So take a moment. Pose an introduction. Post off yourself basically quick info such as your name and your goals for taking this cause. Do you want to become a visual effects supervisor? Are you a filmmaker working on a new zombies in space film? Maybe you just hate sitting in front of the computer screen flavor. Go on, say hi. 2. Path to Becoming a VFX Supervisor: Okay, let's start with the number one question that's probably on your minds right now. I'm guessing what exactly is or are the paths to becoming a visual effects supervisor? Well, personally, I have supervised a few small in the shorts and features, but I run and let the experts tell you themselves, Let's hear what our pros have to say. I did a lot of movies as, Ah, computer graphics supervisor is lighting supervisor compositing supervisor Supervising animation digital effects supervisor mean all kinds of things before I ever did in onset um , supervision. That's sort of how it went. So by the time I got to being an onset supervisor, first of all, people have been asking me for years like Why don't you do that? Why don't you do that? You should be doing that. And I was like, You know, I'll get there. I didn't really become a visual effects supervisor until laid my career. And, um and so being a tries the visual heck surprise in charge of post production, my first time was probably 2008. Some around there on the movie priest. I feel this is a affect artists with a uncle the effects the locks entertainments for for TV series on the CW channel. After two years in the productions and they brought me on board a supervisor in charge of the Effect Department, I started to do graphic design and animations and stuff for local companies. Um, and I realized I could actually make a living doing logos graphic design. So I started to look at art schools in the area and also in the same time I saw Jurassic Park and Toy Story while he was at our school. I went to Minneapolis College of Art and Design. Um, I came out my senior year to Los Angeles and was interviewing at a bunch of studios and met some other mentors and stuff, and they introduced me to school in Los Angeles, and I inquired about the school and spent my senior year of our school at no men perfecting my skill and then graduated from Minneapolis, moved out to Los Angeles and then continue my education at no men until I landed my first job. So it was a painting major art major back at the University of Kentucky about a 1,000,000 years ago. Not interested in making call experimental films at that point, don't know little of the optical printer from spare parts. So the path General Mac now in personal path I mean, look, I started out as an optical printer when there were only 100 optical printer operators in the world. Made it a lot easier, was good at that. With my way up I was. I became the post of the optical supervisor on a number of his shows. Then I left to I 11 to become an optical supervisor and the optical supervisor's job. I'll, um, was essentially to figure out how to get the things put together. Optic leader. Check the color. And like that again, it was purely a technical operation. No, just get boring and then did that for a long time until about 2004 either as part of the company working directly for a reduction or is part of another company. So, like most people in the business, for a while, I had a bounce back and forth kind of career. As can see, there are various ways to becoming a visual effects supervisor personally, from my own experiences as an independent visual effects of Isa and it's all about taking initiative and showing that you have the extra chops to handle and step up to the task. My powerful It's easy. I was able to communicate my knowledge and expertise and at the same time sure that I understood and was willing to get involved in the production process. So, in summary, always be open to many possibilities. Be intentional in your communication off your actions and intentions. And, of course, be fun to work with. And don't be in a and, of course, express your interest in the role before even setting up to create the visual effects in indie productions. Now, if you like to hear more stories on learn marble what it takes to become a supervisor, feel free to check out resource us in this lesson, including a few recommended resource is that most aspiring visual effects supervisors would and should look into. So let's drop the mic back to you guys. Q and a time. Do you want to be a visual effects supervisor one day? If yes, I know why. Go ahead. Post your thoughts, comments and responses on the cure in a board. Whilst you're down with that let's proceed to the next important visual effects production basic that anyone in the visual effects of advising crude needs to know the visual effects bidding process. 3. The VFX Bidding Process: all right now, although this step is pretty much mostly handled by the visual effects producers, a role which we will also cover later in this course. As an aspiring supervisor, it is important for you to understand what divisional fix bidding process is as it affects your ability to perform most off the time. So what is the visual effects bidding process? Well, let's see what the experts have to say. Bring through breakdown, uh, and work with the director and supervisor to make sure what you're estimating are the needs of the project or are established. Then you can get about bidding. I'll analyze this whatever the agreed upon breakdown is and apply my own knowledge to what things might cost, how long they might take, how it might be done. Um and then it's a matter of then bidding, actually bidding with potential vendors and studios t perform the work. And bidding is, of course, not only about numbers, it's not only about dollars, it's about how ah, your vendors see doing the work. What is their workflow like? What are their specialties? What are their strengths? One of their weaknesses. What is their capacity? You know so there's a lot of a lot of things that play that all need to be back, you know, weighed and balanced. And, um, you know, what is their experience like, have they done this kind of work a lot? Are they new to it? So you gotta analyze all that weight along with things. A simple is costing capacity. And and, uh and that's how you eventually come to a decision about how that the best way to award award a project. So of that, here's my take on it and disclaimer. I am not a visual effects producer by trade. So some of this is simply my perspective coming from an artist and supervisors viewpoint. All right, so the official breakdown off the bidding process. Basically, there are different stages off the bid happening inside and outside the visual effects studio. The outside pot is the one controlled by the production company itself, where they set out their budgets after some discussion with their own projects, visual effects, soup and producer, then seek for studios that fit their budgetary requirements. Among other factors. In Turley in house, the bids are received and the producer in charge off that project basically used the information from the production to determine how much manpower is necessary. Who in the artist team would be able to handle the shots? What they need to focus on this part off the effects will do it a different way, etcetera. Now, if the bets are coming from the studio itself, posting to other production companies, then they would most likely be competing against a few other studios as well. Although admittedly this kind of bidding is rest, most notable studios usually get the deals coming to them rather than the other way around . Now, depending on whether you are a visual effects soup off the visual effects studio, all of the visual effects soup ironed by the production itself, your involvement in the bidding process it's pretty much simply interacting and communicating with your producer on how shots would be executed. Etcetera. The visual effects producer will then be the one to determine the numbers and cash flow for the visual effects supervisors intended. Creative means off executing those shots in simple terms. Think off bidding as a mix and match game off budgets of the best combinations of money saved and a proven track record off the vendor being the studios at usually when the bid. Now let's look at an example of how a bid in a typical bidding software would look like. As you can see, it pretty much looks like what a typical film budget sheet would look like. Now, if you don't know what Dad looks like head on over to my free shot film producing cause to get yourself updated on that. But back to this, we have the accounts off section dividers. I don't really need to care about these as a supervisor. Other than that, it helps you find a section off similar things easier. Then we have the amount and unit 40 elements cost. In this case, let's say principal photography measured as 19 weeks at this particular rate or cost off the expense. Now, if this were a sheet showing the breakdown than we have for example, character animation, how many men? Hours or weeks, etcetera? Here's a better example. As you can see, pretty self explanatory. We have the visual effects shots, this here and I can see shot description. Kala Marcus for easy identification off FX types Rates margin now margin in case you don't know what it means is a percent off leeway to allow for the budget for the element. For example, if not, say, the C G Green Dolphin actually took a longer time to accomplish, hence more money required, and hence the 10% margin as a backup. Then, of course, the estimate. And I believe the red dots, whether the shot is in progress, has studied. All is completed again, all dependent on the studio and production zone. Established protocols to define these settings and as pretty much all you need to know about the bidding process seriously. Now I understand that you will have your visual effects producers to do this. So as a supervisor, your priority should be on the creative execution off the visual effects production. And you don't really need to know the nitty gritty off how to work the visual fixed budgets and a bit sheets. Trust me now, if you are one of those people who must know everything, and it's completely unsatisfied by not knowing what fringes mean all incentives or want an actual step by step breakdown of the bidding process from riel producers and head on over to the resource is included in this section, especially if you're suddenly deciding that hey, maybe I want to be a visual effects producer instead. So now that you have the very basics off bidding down, let's move on to how and what you as a supervisor, would actually supervise on and off set. 4. How and What to Supervise: when I'm supervising on said, It's basically whenever there's a visual effects shot scheduled. I'm the person who is supposed to show up and tell everybody what we're doing, and there's a lot of set up in communication that happens long before that happens, and that's vital and important. And to make sure that I think is well on set, you know, work with the director, find out what he or she wants. Work with your crew. Work with the director of photography, work with everyone on the set. Whatever is needed to get things done, you have to prepare instructions for everyone. You have to make sure that the director is happy with what you are doing, and then you have to work with your team who are going to execute the thing and make sure they have the information that they need before your onset. You have gone through and done a breakdown. You've had discussion with the producer and the director about your approach for getting some of these things done. Eventually, you have a breakdown that everyone's agreed upon, and you started putting it on a schedule for how it's going to be shot when you have to be there because going to set is all about being very organized on time and making sure you're getting the data that you need for post. Everybody's in the same mindset. You've had a talk with whoever is gonna be on set with you beforehand. Everyone knows their job, what they're responsible for. If they have any questions about what needs to be done, they know who to go to. I mean, it's the ideas. You have your team well versed and what they're gonna have to do. And also, well, first, for how to behave on set again, depending on the circumstances. And there could be a 1,000,000 different permutations of this thing at the very minimum I would want, of course, to have a data Wrangler there just to be taking the information of the cameras and stuff. E would usually have a fairly small team. But if I've got some particular situations where, for example, if we're doing a lot of motion tracking things like that motion control again, it's my job to supervise that and make sure that it works. Sometimes I would be, for example, ghost in the darkness. I worked with a co supervisor from Sony Pictures Imageworks to govern, and we sort of split up. I would handle the first Unity would handle the second unit. You have to be very, very sensitive to the people on the team, and you have to be very sensitive to the rest of the regular production crew to make sure that we all fit in very smoothly with the work that needs to be done by everyone else as well as us. I supervisor several TV shows for the CW, mainly focusing on the visual fact squishes affect departments. And there would do a lot of like destructions explosions or something hence, like fires and smoking in the shots. So I am currently a previous and posters supervisor. So what I am doing is I am at the early stages of filmmaking. I'm sitting with the director and we are planning out his film. I typically will supervise anywhere from a team of five to the most have done was 18. Um, and I am making sure that we are producing shots at a rate that the director can kind of use us as a sandbox to bounce ideas around, set the priority to for each shots, and then we break it down to what needs to be done and funding right talents in the team. Teoh to tackle the task every time. Everything that needs to be done like pretty fast, pretty quick. So just a, for instance, just come like if someone that actually doing your task and they they are facing the obstacles, we can actually finding the some seniors or even even myself just sitting down to actually just helping them to guiding through, develop their skills and also at the same time, to trying to take over the shots. There's a lot of different, um, aspects to my supervision. One. I am still actively on a box, so even though I have a team of artists that are in some aspects more talented than I am at this point, But on the other aspect I have a knowledge base of 20 years that I can one show them tricks , show them contacts, show them no ways that may cut down on the speed of how long it's gonna take to deliver a shot. I am in theory taking the notes and the direction from the director and then translating it down to my team in a way that they understand. I'll have a couple artists that are junior artists that I will spend a lot of time with kind of mentoring. A lot of times I've been surrounded by an amazing talent, an amazing artists, that I can let them roll go off turning shots. Or so I'm kind of the mediator of what the director will see. So he sees the best possible product. All right, so now that we've had a bit about how experts to advise, she is my take on how to go about supervising on set. If you are working on a small project where the only person involved in visual effects is yourself, you need to make sure you are within the vicinity off the key people that you need to communicate with with regards to a visual effects shot, namely the assistant director and assistant camera. Sometimes you would even be interacting with the director and DP themselves, but if you did your homework properly, you would already have gone through all the important communications during preproduction again. It depends on a scale off the project. If the production has a bigger budget and an actual visual effects. P A team on set. You're basically have your team members collecting and doing most off the communications for you just so you could focus your efforts on ensuring that visual effects shots are designed for production on sent that's intended. In addition, always double check their older, necessary elements in the shot are in there and ensure that the needed data is captured on sent. Reminding the crude at visual effects is not an after party and to stick to the techniques plant. Unless something unexpected happens on they're not. People will look to you for any alternative solutions. Just something unexpected happened. Now, when it comes to Paul's production, Harbor Supervising comes with a bit of a caveat in comparison. Firstly, while supervising onset actually gives you the leeway to being able to execute set of facts and post and suppose soup, you kind of need to be the expert in your field, your artists, your team. They will come to you for advice, suggestions and ways to handle a shot. So a good post soup should be able to execute those shots as if they were the only one in the team. Of course, communication is still key, but compared to being on set, you have the privilege of more time to spend thinking off post election solutions and directing your team walls as an onset supervisor, thinking on your feet. It's almost always military Now, regardless of whether you are all aim to be a post onset soup, I cannot stress enough the importance offset and post collaboration, either between supervisors, all between teams, si both on said data and the ability to be able to use it in Khost. I need it in order to successfully execute your shots because not everything can be fixed imposed if you mess up one set. So if you are still not convinced and you need further resource, is our evidence to show you just how important it is to have onset supervision and that you can't fix it in post. There is a link in the resource is tab that you should check out on the importance off onset visual effects supervision on that note any questions on how and what to supervise being as in on sets of advisor or a post supervisor. Feel free to post your thoughts on a Q and A board pass. Maybe you are already a supervisor or have worked with one. Well, then go ahead and answer this question. Doesn't matter. If you are not in visual effects, you can even be in engineering or what not? And still answer this. How did you, your supervisor, whether there is official effects or not supervise you, go ahead and respond to that question on a Q and A board. I'll see you in the next Messan. 5. Understanding the Film & Visual Effects Process: okay, Dokey. Now, any true blue visual effects supervisor would actually also have an innate understanding off to film and visual effects process. In fact, great supervisors actually understand both film and visual effects, work flows and pipelines from pre production all the way to post. No. How do the two processes blend and complement each other? Well, let's first start with a breakdown off the film production process. Now, if you already understand the film process thoroughly, Phil free to skip to the next light where I'll discuss how visual effects into lays with the film production process anyway. As can see, we first begin with the development off a film. This is usually the negotiations, and research states off any production where early deals and talks are being set in the boardroom off production studios, ideas are being developed, writer writers are being brought on board and early contracts are being negotiated after some time, most likely a few months of planning discussions and research into the story. World production begins now. Pre production is thesis condemned, longest phase in the entire film process, usually taking many months, sometimes even up to a year, also to plan secure and organized the production together again. This length off timeline is usually typical off feature films. Next up we have the actual film production, a k principal photography now before Debt Harbor, somewhere in between pre production and production that would usually be a technical sculpt somewhere to determine the technical settings of the locations involved, and also to set up and test any specialized equipment, which we will discuss further in a later lesson. This would then prepare the crew for the actual shoot during principal photography as well as any backup shots a k A pickups required after the main production is over. From there, we'll proceed to post production, where the footage gets sorted, edited cut, enhanced CG ID and all. That jet just usually takes the longest time anywhere between a year or two After I spent of time. The final sequence then gets distributed to theatres. Depending on whether the production was shot on film or video, there may be an additional step off, translating one format to the other or converting the tapes, two film reels and vice versa. Once that's Dondo, you'll see the film as is in cinemas world wide, that let's see how the visual effects pipeline falls into place here, firstly, during the development phase. Well, to be honest, not much visual fixed up happening here other than just planning story boarding research and development and probably finding the core visual effects team, such as the visual effects supervisor producer, etcetera. Now there's a task known as an, um, antics that may occasionally be considered within the foray off visual effects. But other than that not much happening here, it is only when we get to the preproduction phase that the visual effects pipeline really begins in displays. This is where you as a visual effects supervisor, along with the visual effects. But it'sa, what start breaking down the script? Finding potential visual effects studios in vendors to work with S well s preparing any visual effects, props, tools, bookings with green screen studios, motion control equipment, etcetera. Now you can see how this would also fit into the timeline off how long pre production would normally take, since there is a lot off work to be done for visual effects in pre production alone, there would also usually be a step known as previous, which we will cover in a later lesson where a small visual fixed a deal would basically try to nail down some rough visual effects shots prior to production moving on. We then have the production all principal photography phase. This is where, as you already know, the shoot happens and, of course, for visual effects where the shots are taken for post production. Depending on the production, there may be some tech viz going on, as well as a bit of ah post vis, which we will again covered in a later lessons on the reason that. But in general, all you need to know about these two steps is that they help the director visualize what the final visual effects shots would look like in advance before heading over to the next phase postproduction, where, of course, your stereotypical visual effects work officially commences. Postville is also occurs in the phase, which we will again, as I said, cover in a later lesson before the final visual effects are created and executed. Then day haven't your quick overview on the filmmaking and visual effects pipelines? FuII Now that was pretty intense. I swear that the next section and the next few lessons ain't going to be dead bad. Speaking of such, in the next lesson, we will actually go into the team involved in visual effects productions. 6. The VFX Supervisor: so none of you know most of the basics When it comes to visual for extractions. Let's begin with this very important question that might simply be rattling around in your head right now or many interesting a pizza. Either way doesn't matter. The question that I am going to put in your head right now is what is the definition? Ah, visual effects supervisor. Well, before I give you the answer, let's see what our pros have to say about that when you're doing anything, whether you're rebuilding a car are building paper airplanes or whatever artistic project you're working on. Typically, there is a person who has a vision for what needs to be done. And in the case of a visual effects supervisor, it's someone who has already met with the people in charge of the movie, and they're communicating their vision. And the visual effects supervisor is the person who's going to be bringing that vision to life through their team and through their crew. You're kind of the person that's at the center of the vision of visual effects that's going to happen. That's going to please the client, the director in production, the visual effects supervisor is the head of the visual effects department, sort of in the same way as the director of photography. The end of the camera department Usual Effects supervisors Job is to take care of the technical and creative aspect of visual effects, as required by the vision of the director. So in one sentence, what do you believe is the roll off a visual effects supervisor on set Just last sentence to get the shots that you need for post production rolls? His next supervisor on set is essentially the same as, for example, Roll. The director of photography would be on Set your there to realize the director the director's vision, and you're there to make sure that technically, everything works. So that shares what the role of a visual effects supervisor is in the filmmaking process of visual effects supervisor. Basically, it's like the creative representative off the visual effects on the show. What is that me, in simple terms? Well, in from production, we have the director who calls the creative shots and producer hope with the administrative matters and resource is together, so a visual effects supervisor would be similar to the director of a film or, in this case, visual fax. Now we have already hinted at a few off the different categories off supervisors in earlier lessons with onset supervisors and posts supervisors. But there's actually more depth beyond just that simple division. In fact, we also have creature effects supervisors, animation supervisors, three D lighting, compositing, etcetera. You get a picture now. There's really no point in listing all of them, to be honest, because you can be certain debt. For every potential major part off the visual effects production pipeline, there will be a supervisor somewhere. Heck, there's even a pipeline supervisor. So there you go. Now, if you already know what a visual effects supervisor is, you may already be aware off a few of these names off famous visual effects supervisors Robert Nagato and John Knoll. And if not, that's fine, too. Again, on Lee, Really seasoned industry people or mega fans of visual effects tend to notice name. So no worries anyway, now that you know more about supervisors will go on to the next important role in any visual effects production visual effects produces 7. The VFX Producer: alrighty. So now that we have a clearer picture off what a visual effects supervisor is, let's move on to the next critical role in our visual effects productions. The visual effects producer. So what exactly is visual effects? Producer Visual effects producer is one of the team that that creates and produces visual effects for a project. I know that sounds a kind of redundant but ah, producer in general, whether it's visual effects or for any other producer on a project the responsible for managing and implementing the project, finding the people to do the right, the jobs that need to be done. I mean, that's that's what it is. You're the administrator, the manager. You need to understand what everybody is doing to be able to do that. So it's kind of jack of all trades in one sentence only. What do you believe is the role of a visual effects producer on any production? Just one sentence. How many comments do get in the O to establish, through collaboration with the filmmakers, the needs of the project and to get them done as you heard it from the man himself? A visual effects producer is basically like the administrative taskmaster off a production . When it comes to all things visual effects, the role of visual effects producer in the filmmaking process. It's hence, to ensure that all necessary renders shots, artists and elements are all attained and executed smoothly throughout the entire production and pipeline, making sure that the director's vision and visual effects is achieved within the means off the assigned to budget for visual effects. Now, as we do with visual effects supervisors, there are also different types off visual effects producers. But it all depends on the scope and scale off the production itself. For larger productions, you may occasionally find an associate or assistant visual effects producer who basically assists or handles the minor tasks assigned by the actual production visual effects producer. The Visual effects coordinator, which is more of his own category but has a bit often overlap with the producer role. Again, we will actually cover this in greater detail in the next lesson, and huh looks like that's actually it. Anyway. The visual effects producer, similar to the producer off a film, would also be the one handling different types off paperwork when it comes to the visual effects work flow. Some of these may include shot sheets for the production itself, mainly to show the visual effects, shots and composition off those shots with a rough description off its visual effects bidding sheets, where the producer would basically take down notes on the communications and agreements between different vendors. Which studio is focusing A. Which set of shots, etcetera and, of course, the budget breakdown itself for the entire visual effects department. Again, there's probably more paperwork involved that we're not seeing right now, but as an aspiring visual effects supervisor, these three key documents are really all you need to know about for now. So now that you have a faint idea of what a visual effects producer is and what they handle in a production, here are some examples off famous visual effects producers of all types. Now, interestingly, some of these names, actually crossover s famous visual effects soups to just so you are aware that this morning , as you thought, huh? Well, now they know more about producers will go into a very similar role, usually one of the earlier steps taken to become a producer. The visual effects coordinator 8. The VFX Production Coordinator: Okay, so let's cut to the chase. What exactly is a visual effects coordinator? Well, quite simply, a visual faced coordinator is someone that well coordinates the scheduling of shots, deadlines and communications between the editor and the visual effects supervisor off the project. Usually the coordinator's job is to facilitate a smooth transition between the original edited shots to the final visual effects shots, organizing their transfers between the Edit Bay Off, the editor, visual Effects editor and Visual Effects Supervisors team. They also typically handle some paperwork assigned by the visual effects producer that involves shots scheduling, milestone setting contracts and deadlines. Sometimes again, the visual effects coordinator position. It's more for an administrative task than a creative one. Now I do know a few coordinators at Big Visual Effects studios, but I wouldn't say that there are really any famous coordinators that come to mind since also then eventually become visual effects producers. Instead, anyway, as conceived, were deliberately going down a list for reason. The next lesson features the very starting stumbling step to becoming a coordinator or a producer, or even a soup and debt. It's a visual effects P a 9. VFX PAs: And, of course, let's not forget our favorite people on film sets and in visual effects studios. The visual effects p A's So one is a visual effects. P a well in visual effects. P A is basically what you would expect a production assistant especially assigned to the visual effects department. These visual effects PS are usually brought on board on mega budget projects that involve a lot off visual effects. That tasks can include what a typical P A would do, such as being gophers for visual effects. Taking down notes, body visual effects, crew in post etcetera. No. For those with an interest on set and in visual effects, they usually start out as visual effects PS for a few months or years before ascending to becoming a visual effects coordinator off third or second assistant director, after which a visual effects coordinator may eventually choose to become a visual effects producer. Walls of Costea fit our second A D could ascend to become a 1st 80 or even a visual effects supervisor, depending on the circumstances surrounding the person. So now that we've covered the vital roles on set for the visual fixed team, next we move in house in the house, off teams and visual effects studios 10. VFX Studios & In-House Teams: all right, so let's move on to visual pack studios and in house teams. Now, for those who are totally new to visual fax, and this is the first cause ever taken in the subject or in my Siri's, just what our visual effects studios and what did they do exactly? Well, visual effects studios are basically companies or businesses who is tasked usually involve the planning, execution and delivery off completed visual effects shots as seen in the theatrical release . Off movies there have cause different types of visual effects studios that focus on different areas off the visual fixed pipeline. For example, a studio could be a generalised studio that does all visual effects for commercials. Or it could be a place focusing solely on creature animation. And FX studios can also be divided into different client types. Such s Studio A, for example, that only focuses on high budget feature films and commercials, and Studio B that focuses on Lee on Indy TV projects and pilots. Now, how do visual effects, studio service and function s in house teams? Quite simple. If let's say you are an independent supervisor working with a visual effects studio for post production, you would most likely be collaborating with one of their in house post supervisors on a project depending on the size of the studio itself. They usually have multiple visual effects post soups, and only one of them would be assigned to the project you are supervising. Depending on their availability and level of experience in the FX involved as a visual effects soup, you would most likely be coming in for a weekly review off all shots, All I acing with the post soup and Coordinator via Skype, depending on how the studio managers that workflow. Now, if you are in house on set supervisor, that actually makes things a lot simpler because it means you are already familiar with your own studios, workflow and a team you are working with. Same thing. You'll be paired up with a post soup if you are not also one yourself, and then you go through reviews off shots with the team and eventually D director off the film again. The only difference between working with a studio team s an independent. All in how soup is the layers of communication you'd have to go through in terms of understanding how the visual effects shot review process would work. Otherwise, it really makes no noticeable difference. Of course, different soups and studios have different things to say about this matter. So let's hear what our pros have to say about this. Do you have approval because you're coming from the client side are the studio side of the of the project, so you've got approval over whatever they create? Um, once again, bidding communications relationships have all been built before you go shoot, and so when you're talking with them, it's not your talking them. For the first time after something's been shot, they already know what to expect. If any changes happen, your role is to communicate. We shot this stuff. It's changed this way. We're going to need a new bid from you. You know that kind of thing. So that happens. But it's mostly again about getting the shots. Getting the data you need and communications were really clear communication between everyone. That's the role. At that time, I was the direct Let's see, that was a visual effects supervisor working for a company. I would be being bringing people from my own company there and again, I would be supervising whatever they were doing on Set as well as then chasing back around the Post. Sometimes, as in God Help Me Scary Movie three, I was the production supervisor. We've had vendors about 56 basic vendors to do the different parts of the show. They did not. I would be the supervisor for all of them made making sure again everything that they got, what they wanted and the record was. So how do visual effects studio's work with visual effects teams on set? Well, again, it depends on which phase off visual effects you're referring to as far as winner, not the visual effects team on Set also comes from the visual effects studio itself. If the team on set is also the team in Post, which is red, then they'll most likely have an easier time working through the data captured on set in post. Either way, that would usually be one or two people on a team usually a visual XP or, in some cases, even a D. I T. Though there is normally especially reserved for the film's camera department in charge of peddling over that captured data to a small team in the pipeline, known as in Just who will well basically be in charge of ingesting or transferring all that data on set to fit into the studios asset management system and database for that project. One of the pros of working with in House supervisors is that they usually have a set system and protocol in place, which makes the visual effects pipeline much more defined and clearer for production purposes, you may be wondering, OK, we have onset soups, but one, if a composite, ER or a three D model, it needs some guidance. Do they also asked the onset supervisor? Well, the next lesson will clarify on that point. 11. VFX Post-Production Supervisors: Okay, So, as promised, we're going to talk more about next type of visual effects supervisors who are also known s facial fracture advisers. But instead of going on set, they stay indoors and Randy set foot out in the sun. And these, my friends on your visual effects post supervises. Now, just to clarify, there isn't such a thing as an actual visual effects post supervisor, but I am creating this time right now just to lump all the different departments off postproduction visual fix together. Yes, I can do that. I just did. So All right. So let's revert back to our experts on what exactly is a visual effects postproduction supervised in post there can be on large projects, lots of supervisors. It could be a compositing supervisor, lighting supervisor, modeling supervisor, animation supervisor, animated effects supervisor. They're gonna be maybe engineering supervisors. I mean, it gets crazy. You have a very large screw. So the effects supervisor is actually that the person actually understand and know the whole pipeline Oh, theatre productions and nose. So to set up the work flows and the water flows not only in the team, but also work with the ho Ho Ho Departments and Ho Productions. The previous supervisor, basically eyes brought on early on to help the director figure out like the flow of his film. Um, we typically will be working in conjunction with the director, the writers, the concept artists so that we can figure out the most cost effective way. The film can be made with the director's vision. The people that were in the departments are the point of being very, very, very knowledgeable in that one field. So in one single sentence and I asked one second sentence, what do you believe is the role off your position? Postal s a visual basic advisor. My role is to give the director a digital sandbox in which he can play with his ideas and figure out what he wants to create. This should be a rule mother in the example. So as you've heard, that really is no such thing as a visual effects post supervisor Onley in various departments. So what is a visual effects post production supervisor? Well, basically the person in charge of a specific domain of visual effects and post production that has the technical expertise to be able to lead a team to achieve the look execution off shots involving that specific visual effects expertise. And on that note, as you witness earlier, there will also be different types off visual effects. Post supervisors. In those interviews alone, we heard previous post viz affects compositing, lighting and many, many more so really briefly. Here are some of the more common types off visual effects post soups you would meet as a visual effects supervisor. Fall production compositing slash tooty Supervisor three D. Supervisor, animation supervisor Creature FX Effects Supervisor Pipeline Now that you are fully on board and aware off all the individual team members individual fixed team, let's get on with it and move on to the tasks involved in the preproduction phase for all types of visual effects. Oops! 12. Script Analysis and VFX Breakdown: as a visual effects. Superscript analysis is parts of your job. So is breaking it down. So in this lesson, we will cover the fundamentals of not only breaking down a script but also how to analyse one for visual facts to sidetrack a little bit dough. Part of your job also involves relaying information to the visual effects producer and your visual effects team for budgeting purposes. Yes, we will cover that in a later lesson. First things first. Let's hear what I'll expert. Visual effects, soups and producer have to say about what they do first when they receive a fresh script for production. When I get a script for the first time, the first thing I do is I just read it. I don't try to have any preconceived notions. I tried to take any notes I've been given and put them out of my head. I just want to read the script and get my take on it. Do I like it is a good script. I'm not looking for the visual effects. I'm just reading it. I'm trying to appreciate the characters in the story telling. The second thing that I do is I read the script again. And now I'm trying to address direction. I've been given and looking at the visual effects in the script. You would meet with the director, the director of photography and the production designer determined just more or less. You go through the whole strip and say, OK, can this be done practically or not? And if it can't, it goes on the list of visual effects shots. You then take that list of visual effects shots and sit down yourself, is a visual effects expert and so, theoretically, and figure out how each of those shots might be done. In other words, you know you can use green screen ucg. Where you going to use you make up a shot list? Then, at that point with those suggestions, and then you would go back to the director back to the DP and the production designer and see if they agree with that as your strategy. Always working with the director of the DP and the production designer until you finally come up with list that seems workable. So that's what you do first. Well, when I first got the script, give it a read, just get an initial impression of what, what type of work you're dealing with. I don't take a lot of notes sitting like that. Just want to read it. Just absorbed the whole thing because you're gonna be reading that script a lot as you break it down. Uh, for for my work as a producer, there's the script breaking down the work. And then there's also the schedule. How it's gonna get done. That's that's equally important because it's how you put those two things together to show how it's gonna work, how long it's gonna take and how much it's gonna cost. Okay, now, then, let's go through a script breakdown. I did myself and experience exactly how visual effects breakdowns go so you can see this is one of the pages off a script I wrote for my shot film. The painter that is live on YouTube right now, as you can see, their specific color coats for types off visual effects, set elements, etcetera. All these color codes, by the way, are industry standard and set, and you can find them online by Googling and basically how I will begin my script to visual effects. Breakdown is read line to line and go OK. How would or could do shot be done, asking myself questions and making annotations online or on paper with questions, more soda and answers. Afterwards, I would highlight annotate color, code them and add them up on the page itself and probably in a separate sheet as well. For my own reference, once I'm thoroughly satisfied with my analysis and then repeat the cycle again on next page and next page and the next page and the next pH approximately 10 hours later and the next page until I reached a very last page of the script. Now there is no right or wrong way to analyze any script, and ultimately it depends on how you envisioned that the shot would go. And then it's why, after you complete your analysis, you meet with the director and have a good discussion about ideas, thoughts, etcetera and, yes, in order to save time. My suggestion is to meet with the director first, if you can, before doing any script breakdowns. Speaking off D director, now that we have the complete script and script breakdown process down, let's move on to actually working and speaking with De director 13. Working with the Director: with the Complete A script breakdown. Your next step as a visual effects supervisor is to communicate and work with the director of the film. Where did that be? A well known to season dude are just some new first time director with zero experience. Communication is and will always be de most important tool. You'll have to be able to ensure that visual effects of your production is achieved according to the director's vision. Now here comes the tricky bit. How exactly do you speak with the director of your production? Firstly, it is important to remove your ego from your conversations. In fact, take a knife right now and take that ego right out of you. Because just so you know, depending on who your director is, they will already supply the ego part of your communication equation. Already, kids were understanding of directors. Communication style and lingo becomes he. My suggestion. Have a casual chat or hang out with your director Ida over lunch, coffee or dinner, just non work stuff, casual chit chat and get to know him or her in a more natural and relaxed setting. This is where you would be able to pick up the patterns off his or her communication style as well as how educated they are in terms off understanding the process off visual effects . Now the next major huddle would then be explaining visual effects, jargon and terms to D director, especially after you determined that he or she has very little understanding off visual effects. So this is not an exhaustive list, but the general terms that you most likely have to explain to the director would be as follows. Let's just run through. It is very Could we hear shooting and stereo? Which basically means the camera crew will be shooting in three D. A k a. D. Three D that you see in cinemas with the three D glasses on virtual production, the kind of production that happens in a mixed environment off live on set and on the computers. And that's usually what's with a special camera shooting a live scene but displaying certain three D elements on the computer screen patrol camera, a k A camera in a virtual environment on the computer tracking markers, the tape or stickers placed on a green screen to allow moving camera shots to be tracked in post production Chroma Green, which basically means key about green set extension self explanatory. But you'd be surprised how many directors don't notice it means enhancing or extending the physical real world set. Usually impulse production again, more complex terms will be covered in later lessons. But these would most likely be the terms you'd have to explain to new directors for now. Okay, so now we have that covered. I'm going to stop talking now and let out experts tell you how exactly they build a working relationship with their directors. Well, it's different depending on the person. Uh, sometimes they want to be intimately involved because they're trying to learn, which is great. Sometimes they're so busy that they have to be on the phone while we're shooting, and there's no way to involve them. Sometimes they'll have a representative if they can be involved in. Sometimes they just look at USA. It's up to you. Just shoot what you need and clue me in later what I like to do. If possible, I'd like to have them involved. I would like to set up the shot with the cinematographer and get ready to go and say this is what we're planning on doing this is look like what you wanted. And if there's any change at all, they make it. At that time, we just move the camera. You're working with the director. You you have to understand. Of course, that director is not in charge and should not be in charge of how the work is actually done . But they are very much and completely in charge of what it should be about how it should look, the message it should be trying to convey. You know all that all of the creative aspect of the film. So your job is to first of all, work with the director and find out what the director wants and then figure out how to get it for her and go back to her and tell her, OK, is now I want to be doing it. And then you sit with director while they are shooting, and you do anything that you can to make it easy for them. Once you have gotten all your pieces, of course, then you've got into the situation of working with the director for the rest of the movie while you are taking it through post production. You have to understand what he or she wants times. You have to give them a number of examples and thank God for Photoshopped that you could do that and say, OK, they want to look like this or like that. It's really your job to just be the voice of the director in terms of the visual effects. And there you have it. Not next important director to work with the director of photography, otherwise known as the DP, our cinematographer. 14. Working with the Director of Photography (DP): after speaking with the director. Ideally, you being a meeting with both the director and DP At the same time, it is now time to focus on a working with the director of photography. DP itself. So how exactly this one? Speak with a DP on what's known as a cinematographer again, Take your ego out of the equation and focus on solving problems and getting done. Understanding your DP's personality is key, though I noticed that DPS can either be extremely professional and son or extremely opinionated in particular. Now she have the solid and serious kind it's usually easier to deal with, and the extremely particular sort again. Reading a person's vibes becomes key in how you choose to communicate with your GP. Speaking of communication, let's talk about the terms that the DP and Neck camera crew uses that you as an aspiring visual effects soup, should know. We'll start first with Focal Leff, which literally translates to the possible length off view that comes with any camera lens i eso where it's different. Numerical values signified different measurements off the speed off the film in K, adjusting the cameras Image sensor's sensitivity to light entering the device Film Gates, which is usually used to refer to a film cameras opening that allows for the film to be exposed to light aperture. A small opening, any camera lens that controls the amount of light there passes through speed. Now you're here. There's a lot on a film set, and it basically means that the film camera is getting prepped and needs a moment to get up to the correct speed as the film role is being fed through the camera, ready to be used digital cameras, though, people just use the word speed as a habit off, saying that the camera is ready and that the record button has been pressed. Bounds Card, which is a card used to bounce light around on set in order to add subtle light on subjects in the shot and finally dope sheet, which in the camera terms it's referring to a list off all the shots taken during a specified time period. Now, just like D director, the DP also has to know some visual effects terms that you will be throwing around on set. Most of these terms are the exact same terms described in the previous lesson, so If you want to look over them again, please head over to the previous lesson on working with the director to view all these visual effects tomes. All right, so let's turn the spotlight back on our industry pros and let them tell you how day work with Dad D piece on set. So sometimes it can be delicate, depending on what the cinematographer's experiences like in their relationship with the production company and the director and all that kind of stuff. And sometimes it's very easy. Um, they'll say, you know, just get the shot you need. We all know what we're doing and here's this is you know, Dan the cameraman. Go work with him and get the shot. And Ah, and it's a sort of everything in between. But mostly what you want to do is no their vision and make sure that you're paying attention to it and supporting that it understood that you are not in conflict with what they need. Sometimes if they have a different differing opinion, you have to listen to them, and sometimes it's a much better option than whatever you or I might have thought I might have thought off Oh, sometimes I may have to be very diplomatic to try to get done. What I need also very important, be considered a working partner with the director of photography. Because, of course, you're also then dependent on the director of photography's crew. And if they don't like you, you will not get what you want. So it's a super important relationship, probably in terms of minute to minute work. It's probably as as as important and probably more time consuming than the time you spend with the director directly. But Friday, so we've met the director. DP. Now let's talk about how you work with and bring on board your own visual effects team during preproduction. 15. Working with your VFX Team: all right? A. So let's talk about your team because teamwork makes the dream work. So how would you work with your own visual? 16 during preproduction, then, Well, let's just go back a step and start with how together your very own a visual effects team members Now this, of course, depends on whether your team is in house are provided by the film production company themselves. A lot of the times the onus is not on you as a supervisor to find your own visual effects. Team members on set If the production will be supplying a bunch off piece for you for in house teams, however, where you would be bringing people you personally know from the studio you work at to set in order to assist to answer visual effects pH. Again. There wouldn't be much options other than knowing the visual effects. PH is on schedule in a studio. And how many exactly? This did your heads for you to pick and build your team from now, when it comes to speaking with your visual effects team, however, the communications tend to depend on whether you're team already has a relationship review personally or are really only seeing your face for the first time on set again. You want to use simple English and terms and be as clear in your communications as possible on that note. Sometimes you may need to update our train. You're on visual effects team before they set foot on set. And this is important, especially if you are bringing your own team on board. You don't want them to mess up the vibes on set by, let's say, standing in the way off the shot somewhere, trying to collect visual effects data. It will not only embarrass the pence off that poor guy, but it would also make you look bad as a soup in general. So in order to prevent that transgression from happening, here's how you would go about training your visual effects team before they get on set. Step one always breathed them the day on night prior to the shoot off what is expected on the shooting date tomorrow. This will also give any new visual effects pH the opportunity to ask you questions if they have any step to at least set aside one day a week before the shoot to train or talk to your visual effects PS on the tools that you will be bringing on set as well as what kind of data is expected to be collected per production. In other words, if the studio has about 3 to 5 ongoing projects or production's going on, each production deserves its own separate training day for the tools and props, etcetera. And lastly, but certainly not least Step three always assigned someone to handle a specific task on set but brief everyone on all impossible task, just in case, because you may never know when someone may need to stand in for somebody else. And, of course, when it comes to a visual effects, terms and jargon, all that should also be covered in your training, meeting with your team just so I'm not repeating myself in boring y'all's to death. If you want to review some of these visual fix terms that people on set, including your team, should generally know, then please head over to the lesson on working with the director to view all these visual fixed terms. Yes, off course. There will be other terms on which will be covered in later lessons off this car, so chill out. No worries. Don't go crazy. We will touch on them in the next lessons. Now that let's switch it up and go back to our industry pros as per usual and let them enlighten you guys on How exactly isn't that day work with their very own visual fax teams ? Well, lots of prep. We show up. We all know what our jobs are, What they're responsible for data. They're responsible for gathering. If there's any questions, we all know what the protocol is. Who to talk to someone would be responsible for all of these things. The big communication problem, of course, is that some things things have to move really, really fast because this crew might be behind shoots for the day, especially with something like the T Rex, with all the rain and the mud. And who knows what all, um but ah, so that the problem is is that you try to find really minutes to be able to capture the data you're gonna need. You won't be getting any more time than that. So wherever your team comes from, you're going to have some people there on set doing something or another. It may be there for a week doing visual effects work. They may be there for a day, doing motion control. You're gonna be there, on and off, and again, it's your job to lead them. You also have to make sure that they understand that any voice that any decisions or anything like that have to come through the visual effects supervisor up to the director and the DP because otherwise you lose the whole, you know, hierarchical relationship that prevails on a set that lets the production get done. Everyone cannot just immediately talk with director and say, Wait a moment. I think you should not, but the red hat on the person So nothing. You know how to put and work with your team on set and in post during preproduction. Let's move on to working with another key group onset production design and things related to the production design department 16. Working with Production Design: Okay, Dokey. So production design just to define us a little for those who did not take my film costs or is experiencing my teachings here for the first time, production design is basically the creation and construction off the story world. Off the film, the production designer and his team could be involved in over all set design and look off a film. And I'll be responsible for creating visual backdrop off the story being told the school of the production design teams that responsibilities would very depending on the production and sometimes even depending on whether it is a project in the U. S. Film industry or in India's Bollywood, for example, in the context off discourse production is, I will also include wardrobe, makeup and special effects basically things for laying back to the design off the entire from production itself just to make this lesson more meaty. So focusing on production design in general again, as usual, keep your communications plain and simple of white the jargon and unnecessary crap. Just be a straight shooter. That's always the best way when working with people who may not be familiar with, you know, nish. No understand the nitty gritty off visual effects. Now let's talk about the terms that production, design and related departments use you as an aspiring visual effects soup should know will begin first with set dresser. Now this is the person who usually comes in. The group will get all the props and set decoration all set up on a life film. Set property. Our prop master, the person in charge off props who will place an alter all the props related to the production Swing gang, the team that supports the director in terms of getting all the materials needed for construction of film sets. Heart No, not what you would typically think off that word. It actually means an object off prop this currently being used on set so something would be labeled a hot prop, a hot set if it is currently being used in production. Floating wall. Uh, well, a literal floating wall, basically a wall section off a set that can be moved so another camera can get in there and shoot some shots. Stop motion animation. Now. This usually follows in the special or physical effects department, where it basically is an animation technique used to make a physical object appear as if it could move on his own miniatures. Literal physical copies of people, animals, buildings and objects used to represent things that I do not really exist in reality or a too expensive to film animatronics man made machines that animate and move on set, usually designed to scale, including animals, plans, creatures, etcetera, physical effects and other term for special thanks but sometimes incompetent stunt work as well. Explosions and other tangible effects. Such a strong winds. Rain etcetera. Also covered here. Squid. My favorite word of all, which basically means a small explosive packet that is usually hidden in an area where a gunshot is expected to come into contact and hence blood spurts. And while scripts of on screams also tend to be, Wyatt are connected to a remote control and can discharge fluid at the appropriate time by the special effects crew Last looks off. Final touches basically means last touch up work on hair and makeup before the camera starts rolling and lastly, hot spot. When this is used to refer to makeup, it usually means a shiny place are spot on the face or head that needs to be fixed before the camera starts rolling. All right, now then, now that you saw enough? No. Some production design. Lingle speak. How would you go about working with them prior to the actual shoot itself? Well, it's pretty much the same with the director and DP Communication Communication Communication needs something done for a prop. Let them know about it. Need the set designed to avoid a certain color for keying. Let them know about it. I'm sure I'll visual effects veterans can agree with us right here. Well, again. It's the same thing as working with the director of photography, for example, on what dreams may Come. We were, you know, this was a very art heavy movie. The director of photography had developed a huge number of reference photography. Vincent Ward and the wrecker and all of the art team had numerous very, very detailed Um, no working, growing storyboards, whatever of the things that they wanted. Sometimes you'll be in a situation where you need to know where the sets are going to be, and maybe you will have to go the art department and, you know, possibly even didn't get blueprints of sets. For example, again, on what dreams may come. We had the big library shot. We will. We're able to work from the blueprints of the movie itself or not on the movie of the set, allowing us to match it very well. We're doing our CG as the supervisor year. You need to know when you need to talk to the production designer and you need to know how to develop a working partnership. Okay, so that's pretty much most off team members you need to work with in preproduction. We're not done with a section just yet, though in the next year lessons work have important. Next steps of visual effects soup or aspiring visual effects soup has to take in order to be fully prepared in preproduction for the actual supervision on set. 17. VFX Shot Design and Previz: Okay, Dokey. So here's the fun pot. Most people think that visual effects only happens in post. Well, that is not true. Visual effects also happens in pre production through the processes and steps off shot design. And previous. Now, to keep this lesson light and simple will start first by explaining what shot design actually is. So we shot design and visual effects all. Actually, just filmmaking in general is actually a simple term for saying Miss on Set, which basically means the visual and art for design off the film production on set and on camera in other was designing each shot in such a way that it successfully and skill for the conveys the essence off the story. In the visual effects world, shot design is usually done through story boarding and in taking does storyboards and and meeting them with the temporary cutouts from these story bots. Forming your Anna Matics, after which there's usually then proceeds to the next visual effects phase in pre production known as previous so previous or pre visualization is essentially the preview stage of what the visual effects in the film would look like. Think of it as an advanced form off story boarding and Anna Matics, where you visualize usually in three D and with rough animations a few complex scenes in a movie even before setting foot on set again, the purpose of which is to ultimately save money in postproduction, to prevent wasted manpower in visual effects finals, as well as to give the director something visual to work with before getting on set. Now, if that didn't know justice in explaining previous, here are a few examples of previous, such as Alice in Wonderland to buy Hail on entertainment, which I was involved in a swell or perhaps wall for the planet's off the apes. Now a visual tech soup's involvement in previous again, very depending on whether you are coming from the production side, all the visual effects studio side. If you are coming from the production side, then you may occasionally preview and review in previous rails with the director from the visual effects Studio Side Harbor. You'd most likely be the one in charge off the previous team and preparing the reels to be reviewed with the director of the film. Again, we'll cover more on this post production dynamic when we get to the later lessons on post production processes and work flows. But for now, if you like to lend more or check out some available tools to try out previous on your own , feel free to explore. The resource is attached to this lesson. Speaking off processes and work flows. Next up will explore some visual effects pipelines. 18. Establishing VFX Pipelines: so usually visual effects pipelines are already set and given by the visual effects studio . A vendor that you'll be working with All are coming from, but it is a visual effects soup. You must know your own studio or team pipeline like the back off your hand. But in all honesty, realistically, though, hands all look the same. So let's just say you need to know your pipeline like the spelling off your name. In fact, if you can understand the visual effects pipeline very, very intimate, like you understand your spouse's well, uh, intimate, then it not only helps you while you are supervising on set, but it also allows you to come up with creative and inventive ways off solving any visual effects shots required to be shot and trust. The director dp Your visual effects producer would appreciate that tremendously. Now if there is ever a time in today's modern society that you ever in your life off ever need to establish a visual effects pipeline. For whatever reason, just think of me and remember that this lesson will save you, so I'm gonna give you the answers right now. Here is what a standard visual effects pipeline should look like and honestly hope it's not all lost. You can always find these all on Google, to so credit to Andrew Whitehurst for sharing this on Google. Alrighty. This basically starts as follows. Pre production involves all that we had discuss. Intersection. As you can see, previous is involved here. Then, as we move on from pre production to actual production, we captured all out on set data, from reference photos to HDR images from a chrome's fear. And then we also have our raw footage off film skins go through its own separate process off ingest on the production side. We then proceed to the chunky visual export production phase where all the rial grunt work begins. It can see production, then send over the footage the visual effects needs to work on whilst at the same time. On their end, the editor and colorist would usually collaborate on the cover scheme and look to then form what visual effects would come to know esti color. Look up table visual effects, then goes through all these steps and usually end on lighting and rendering before going through a process known as Daley's for final review and then finally sending off those finished visual effects back to the editorial team off the production. Now here's the stuff you don't see on the screen the actual formats typically used in studios. So we begin with ingests, right, usually cameras being mostly digital. Nowadays, the foment would either be a DP X skin or an E X. Our skin default format is ultimately determined by the visual effects studio in production for what it's best to required for both visual effects and post production purposes. But in general, if you are getting DP access to work with, they are usually in large color space. Waas. If you are getting eggs, are files, then you can be sure you are working in linear color space instead. At the same time as a visual effects studio, you also be getting and out of foul, usually a quick time off the edit sequence or shots with the color Lut applied. This would be your visual effects post reduction reference for your composite ER's lighters , artists etcetera to work with and try to match as best as possible in terms off the intended visual effects. Look once all the necessary visual effects actions are taken, then these shots would be rendered out with the color. Let for both d d p X or XAR file formats and s a quick Thomas well for preview in dailies if the shots get approved and voila, you don't need to find a file or whatever. The final ING artist has already branded out the DP excess or exercise, and your team just moves on to the next shot and the cycle repeats. Now this all sounds like a whole lot of fouls and movement or false attract such a science from this typical pipeline flow chart. Most visual effects studios usually have a tool I called shotgun. There essentially is the industry standard pipeline and work full management tool for visual effects post production. In fact, you'll find that to the software pretty much has the entire postproduction section here down, so it lets you the supervisor worry less about pipelines and more about how to achieve the director's vision. Now, since shotgun is something that you most likely would not get an independent license for, we're not going to dive deeper into this tool. But if you are a curious be and would like to find out more anyway than check of the resource attached to this lesson for the official website. So if this entire lesson just went right by you, no worries. We will dive deeper into the production and postproduction section, as planned accordingly. So keep on watching keep your eyeballs on the screen. And, as usual, if you have any questions, thoughts or comments, please post CUNY board. I will answer all of your questions, no matter how ridiculous or insane they are. So anyway, we have pipelines. You have to fill it with people, which is exactly what the next lesson is all about. 19. Choosing Vendors & Team Members: Okay, so we talked about your visual effects team earlier in this section. In his lesson, we shall focus on the nuances off choosing your own vendors. Also part of your bad as visual effects team and your team members. So what then are the ideal traits in a team member? Let's hear what our experts have to say when it comes to both selecting visual effects, studio vendors to work with and picking people to add today that visual 16 how to put together my own team is actually to realize and to see what I actually needed in the team and also see what I don't have. And if the shot is urging like probably just hire a specialist, were if I have time, Feikens. Just also most of most of time that I will prefer to actually training my own artists. So eso at the same time they grow by usually choosing the the the candidates that actually has the ID of the creative eyes. And also they know the techniques, and it doesn't necessarily need to be like super professional. But he just like you, they showing the, um, that aspect that taken jumping and do the works and also at the same time, there's a potential that I can bring them toe to upper level. Every once in a while I've been on a show where I made, especially on the post of this process. I may need Rodeo Help or Matt Help or something like that, and I've I've used utilized a couple studios that I've just become happy, become familiar with, and I've built good relationships with them. But it is only happened on maybe one or two of my projects. On the flip side, what I do deal with is my artists and my team, and I hand pick my artists based off of their capabilities and the needs and demands of what I need for the film. So if I have a film that is character driven with a lot of character animation, I'm going to be mostly looking for any type of character. Animators, ideally looking for strong generalists who can do everything from model to toucher, toe light to animate, to calm. But I do go through an extensive process of vetting my artists so that I am surrounded by the most optimal team. Well, primarily, it's about what they've done before and what they've done well before what they're really good at. So if you're gonna be breaking things up into, you know, whatever people do nowadays, 789 10 11 20 vendors to get your show done. Um, sometimes it depends on how much time and money do you have for post production. The primary concern is what do they do? What have they done? Well, will bid them and see what the price is. Very important, that you make sure that you get a vendor that have confidence that they can do the work. So that's where you need. If you're good supervisor, you need to know You need to be familiar with a number of possible vendors. You get back their bids, their suggestions as to which parts of them they wanted to bid on, then you would usually go through compared their prices. There's different factors that influence those decisions on every project. Um, sometimes projects will have a history and experience of with particular vendors that they like to use, so you're not really spreading the net far and wide. Other times all work in a project where they don't know where to go, who they want to talk to, you know, And then it's a matter off. Um, obviously being aware of who's out there, who are the people on the ground doing the work and having at least a basic understanding of what different people strengths are and again, capacity and things like that. You also need to decide, depending on, say, the scope of a project, how many vendors you're going to use. I don't usually put together in House Team so much if and when I've done it and it's the same. Is work working with vendors? Usually you start with who's gonna, Who's gonna lead who's it is the leader who's in charge, who's the supervisor, find the lead person and and find out who works well with them as well. Realistically, what you need are following for vendors team that's communicative meets deadlines, and it's solely focus on getting the job done with the added bonus off being fun and friendly to work with being in plus for your own visual effects. Team members, Same thing you want someone that will be open to communications and feedback, meets deadlines and is focused on getting the job done promptly and properly with a side order of fun and funny being a plus. Now, how you go about finding them, however, that you've heard varies depending on your existing ties to people and studios. There are many sources you can choose from, as you can see right here through referrals, Demery, ALS recommendations, directors or producers pick or even just threw cold outreach is the rounds I usually recommend for both vendors and team members would be referrals and recommendations through your existing network. Now, if you are Newdow, then you'd have to go with the demo reels. Or perhaps ask your director or producer if they already had someone in mind. Right? So that is all for this entire section on visual effects supervision and pre production. Now, before we move on to production dough, I have a little assignment for you. Remember the very first lesson in this section where we went through the process off the visual effects breakdown in script analysis? Well, I like you right now s aspiring visual effects soups to perform your very own visual effects breakdown for a script off your choosing idea shot film script off five pages or So are even 2 to 3 pages off a feature film script to you found online either way before me. Breakdown Analysis on debt baby and share your visual effects Breakdown with the class here as usual. If you have any questions on this assignment or anything else we have covered so far, please post your questions on Q. Any bought and they will be answered. Okay. Once you're done, we'll move on to the next section on visual effects, supervision and production. 20. The VFX Supervisor's Toolkit: All right, so in number this lights and let's actually move on from pre prod to production. Yea finally. Jeez, now today's lesson will be a fun one. You will actually get to prepare your very own of visual effects tool kit. Firstly, let's see what Al visual effects soup experts have to say about what day? Bring on set some type of set up for capturing HDR as quickly as possible. She might have like a ah ah Canon camera to to shoot really reflective sphere. Um, hopefully it's something small and collapsible. You just grab and quickly shoot something with because again, you may not have a lot of time. Um, same thing with the ah diffuse fear. Get your land version color that's going to be happening. Onset. Getting your lighting. Ah, and then it's about just communication with the cameraman. Cinematographer What camera is it? What can't what lens are we using for the shot? Just getting that really quickly and this could be written down organ be taken down on a tablet. If your supervisor is very small show you may be taking your own measurements and then you have to bring in measurement kit along with you. But in most cases, that's become part of your job. For your team, for your data Wrangler. Something like that. What I would do on Set and I'm going to show it to you and I hope your mind We just bring a notebook, okay? And every day, every shot I would write down whatever I thought was important about that particular shot. I mean, I would bring a compass. I would bring a pair of binoculars in the camera, obviously spoken, see what's going on there. Sometimes I would bring an angle finder. So for good measure, we're right now in an indoor green screen studio in Los Angeles, California And here is what 1/2 in my took it. But before we get to that, you may have noticed that my outfit is a little bit different today. This is basically your standard outdoor vest for adventurers, but it becomes very useful for visual effects supervisors on set, especially when you're trying to perhaps stall a granola bar somewhere. Some notes, the script and perhaps a tool or two in your pockets again, recommend it. If you are really serious about your craft. Okay, so Bechtel actual toolkit. Let's start with this item first. The chrome's here. Now what the public's off this is is simple. Captured a hue of any lighting effects in the shot off scene and at the same time to capture some high dynamic range images, otherwise known as a C. I for the replication off any on set lighting. And it's complexities on three D objects in post. Similarly, I have smaller and more possible versions off these chrome spheres. Now these are actually just Christmas decorations. But the great thing about this is that you can attach D's to anything and anywhere that your hand or height couldn't get to. If you don't have a poll to hold out the crones fear, for example, so big stuff take measures. Now it is great to have two kinds. No manual traditional tape measure that allows you to wrap around things and stuff like that so much that I even have two different kinds off annual tapes, penned the line laser tape measure that allows you to reach almost an unlimited distance and to prevent human error. Now we had to take measures now just e tapes, all in my case just tape. Now you can tell how hot it is to get visual effects soup work these days compared to jobs behind a computer screen. In fact, hardly use, so that kind of stays in large. Now you never know when you may need these could be to fix a broken tripod or use it as an actor's mark, who knows, comes in handy sometimes. So next stickers again either four set or to use as last minute markers or tracking markets or even for props that requires something bright on item to be tracked. Anything goes for these stickers Really so very useful. All right, so what we do have here tense markers are no tent markers. Must have sold them anyway. Here is a screenshot of it, same thing as stickers. But the reason for these specifically is actually for those white shots where it would be really hard to see that sticker. So the brightness of the red here would actually stakeout. Of course, he doesn't necessarily have to be read. It could be any color as long as it contrasts with the background. Next tennis balls. Same thing as those tent poles. All Marcus. Just a different way of tracking and white shots and for keeping track off things. Then, of course, whereas tennis there is Ping pong. And yes, that reference made no sense whatsoever. But these ping pong balls basically accomplish the same thing just differently. Sized for multiple of different shots. Next, I have nails are a box of nails. Now this box isn't actually a good cover for this, But why does my soup kit contain nails? Well, just in case you need any reflective material again for tracking and things such as grass or something like that again, all these tools are shot dependent, so you don't necessarily. I need to have them. And I think stop my favorite because it's weird the brass plumb bob with attached nylon twined string. Now this is usually used to find a center of gravity in a shot up a house, more commonly, to create a vertical reference line for anything in particular, perhaps to represent tall buildings in CG or something off that nature. They're basically creating a vertical reference for any use in postproduction later. Not only that, these strings can be measured, so you could also use this to measure really tall elements to then use those real numbers to replicate in post realistically, Okay, next de Compass. Now, of course, you can easily replace this with an app. But for those who want to save their battery life or have to use that phone for something else, a compass is mainly used to get directions, especially for shoots in rural areas and also useful for other reasons and posts. You may never know to be friends again. It's not that important to half, and an app would easily suffice. Right then, we have the magenta green glasses. Now this is mainly to check the lighting and shade off green off the green screen that it is evenly lit and in the right shade of green, not turquoise, ordered a green but chroma green, the most capable green and on the notes we have three D polarizing glasses, mainly for stereoscopic shoots were for stereoscopic monitor, but on normal typical sets that is shooting flat. You don't actually really need this OK and, of course, Clearwire's paper. Or, if you are really into the profession like me, you have this DJK color tools balance charts with an 18% neutral grade shot and black. Of course, the whites would mainly be for why balancing and checking the green screen s you saw me doing a little earlier. And, of course, last but not least who we have the trustee notebook and pen for writing and taking down notes and any other important slip ups and information you need for yourself all your post team later, and also some set where the form of sheet resistant leather gloves in the events you may need to handle any hot props or materials. 90 Forgot long thing to mention with the compass, so get out right now. And this is the Pitch Slope locator basically used to measure the slope pitch and yaw off a shot to then replicated in three D again very useful. Most likely you Swifty tape measures as well. Well, we finally went through everything here except the dust. Now again, it really depends on the production and the scripts, details that will most certainly be other tools you need. But in general, what we've covered in this lesson should be sufficient. Now. If you re gung hole in hot car and want to know more, head on over to the resource is page in this lesson to check out the more visual effects tool kid examples. Likewise, all the items represented today you can find on amazon dot com if you're really serious about getting your tool kit put together now that you have your talk it, let's cover something that I personally do myself as a supervisor on Set the Visual Effects Soup to do list. 21. The VFX Supervisor's To-Do List: already not a have seen the inside off my visual effects supervisor toe. A kid are a visual effects supervisor to Kit. Let's move on TV supervisors to do this. So yes, usual. Let's see what our industry pros have to say about this. About the only thing I would bring would be access to the database if possible or copy of the database. And that could be on a laptop or could be on Ah, um, just about anything, really, Just to make sure we have something to look at. Like, how did we do this? What was J we got from that? It's comparing what we're doing now with what we've done. And sometimes it's just like, Oh, have we had a discussion about that? What was the note? And just to be able to check things that you've got on set with you Oh, let me see paperwork. Okay, Cheese again. Legal effect. Society puts out a data sheet which is very, very valuable and very, very standard. Tell talks about the takes that you put on there. I also put have prepared another set that deal with the triangulation, which is the way I believe used to set up a camera. All right, so with those expert insights, let's begin with these documents that I personally bring to set, even if the others don't. Firstly, the visual effects checklists good to have not mandatory. This checklist basically serves as a reminder off the things to bring and have on set for each production day. So, for example, for my short film The Painter, I made sure the prince, or at least have a copy off the visual effects checklist for each day of principal photography. Since we had a lot of visual effects shots as well as a few scenes that were completely shot in a green screen studio, I had to make sure my tool kit contained my tracking Marcus tent markers, etcetera. Of course, you could just bring everything and put all the tools in your tool kits. But remember, once you start working on bigger and bigger productions, you may not have the luxury of space in your tool kit to bring everything under the sun. Hence your visual effects checklists would come in handy. Next up, we have the visual effects to do this to prior to set. That means well, basically a list of things to do and get done for visual effects prior the commencement off actual production. The to do list has no specific form. It and again is entirely up to each supervisor if he or she needs one or not. But believe me, I like list. So I find that having one that spells out the task person assigned to the task deadlines and notes for any updates on the task help get me organized and prepared before actual shooting starts. That way, when things go wrong, you know who to blame. Just kidding. The truth is that if things go wrong with visual effects, default will still be yours. Even if you assigned the task to somebody else that's having such to do lists, their shared with the visual effects team really helps establish accountability. Now, just as I guica over having do this pride to going on set, guess what? I also have a visual effects to do list on set, and yes, you can pretty much guess that it to do this basically only lists tastic. I need to get done on set. I like separating the two to do this, since I know that sometimes what gets done prior to set may not need to be a priority. Once the camera starts rolling on set tusks like that would usually include any special visual effects props that have been prepared prior to the shoot or special miniature sets, etcetera. Now remember, as much as having lists are grateful people like me who would eat, sleep and breathe lists for the rest of my mortal life. To some people, maybe yourself included, you'd prefer not being bound to lists. Heck, maybe actually, really hate lists and would rather used them as toilet paper. That is totally fine. That's why visual effects supervision is an extremely flexible position where you can either pre plan pre meditate your work on set like a future crime scene. All you can spontaneously react an enact right off the bet again, it all depends on your style and personality. Lastly, you may also want to bring any other list or document you think might be useful to have on set and yes, yes, mentioned by some of our experts. You may also want to bring a copy of your script along, especially the one with the final visual effects breakdown, written or typed alongside the script. You don't want to have to rely on the p A to give you a free backup copy of the script. Once you get to said, because your notes all your hard work off, breaking it down for visual effects will not be on it. And trust me, you feel so much more comfortable supervising if your script had your scribbles on them, rather than being fresh sheets off paper just off the press, and that pretty much to wraps it up for lists on set Now, depending on the production day may sometimes have props. So next up we will go into propping props for the purpose of visual effects productions. 22. Preparing VFX Props for Production: all right, so a bank you in the green screen studio now. This is not a mandatory step when it comes to supervising on set, as it depends on the film script and a production itself. Sometimes you got to prepare the props for specific visual effects shots. I work with the production designer to prepare the props for specific visual effects shots . So let's see how one would go about preparing props for visual effects. Now, depending on the production, sometimes unique green things like a green suit where this used to mimic a character and three D or innovated actor. The suits are usually easily purchase herbal online, since the people who wear them tend to be off average, build a green. Anything where the purpose is to basically be replaced are keyed out to be replaced with another three D proper objects such as, let's, say, a Sordell fantasy type of item there and, of course, a portable green screen where it is usually used for special cases in production, such as outdoor shoots or to cover ground that the green screen built into the studio. It's unable to cover now, out of visual effects props, you may have to Pratt for production includes an object with one colorful replacement where basically served the same purpose as the props that are Kruma Green. Just that, perhaps in some productions they may have a particularly green backdrop. In other words, an outdoor shoot in a forest, for example, so a differently colored prop would be key. Speaking of props, last but not these, it is possible that you, as a visual effects soup, may have to pratfall props that represent anything in three D awful actor interaction. So, for example, and guidance of the galaxy where Rocket and Groot were basically just sticks, those sticks are something you might have to prepare for potentially represent the actual real world height measurements. Off the characters in three D are perhaps more popularly, the bender snatch in Alice in Wonderland. As you can see right here anyway, there's way too many to cover in one lesson, as it really depends on the shoot itself. Easiest way to remember visual effects props. Most of them are usually just chroma green Keeble props to be replaced in post, and usually if the prop of visual effects element is a key pot off the backdrop often on such design, you or your team will simply advise and work closely with production design to ensure that they get the correct pains Are green hue etcetera in order to design and dress the set in a way that helps you achieve the visual effects shot you had in mind speaking off green. Next up, we will come over here to the green screen to show you how to set them up. 23. Setting up Green Screens for Production: Okay, So I'm sure most of you must be thinking I am not for having even having an entire lesson solely dedicated to setting up a simple green screen. I mean, all you need to do is throw a bunch of lines and you're done right. Well, wrong. Green screen still needs some prep. You cannot just put it up lighted and call it done. In this lesson, I will discuss how to properly light a green screen in those are outdoors. But first, before I could catch it's Let's see what I'll onset soups have to say, Well, if possible, I try to do it kind of old school. Um, so I try to make sure that ah, the green screen is lit is flatly as possible. Um, oftentimes a large green screen. You may have to get, Ah, a couple of good size lights, one case or something. And you what? You try to do his make sure there isn't more light coming off the green screen. It's not overloaded. It's not too bright, and it's not reflecting back into the scene at all, if possible. That's why you have 21 K is one for the left one for the right. You're just raking their light across the surface so that it's lit well. But then you measure it to make sure that it's not too bright on casting a lot of green spill into the scene. Given that nowadays we could just throw up almost anything that's sort of green, poorly lit, dirty, who knows what all wrinkled. And it's amazing what can get done with that. Going to make sure that your green screens are large enough to cover what action you got. Need to make sure that they are far enough away from the subject that the, you know that they're not being lit by whatever is going on with the green screen. Oh, let me see. You need to make sure you shoot a clean ring screen plate. Otherwise it just goes depends all over the place on exactly what you're doing. And again, it might should remind you that if you've got a yellow haired lion chasing something else that's yellow, you should be using a blue screen, not a green screen. There's green and there's green, and you want a green right, So first things first. Let's start with an indoor green screen number one. Make sure that the green screen is evenly lit, and you can do this idea using the studio flat lights overhead or to Kino flows, place on both sides off the green screen area. You will be using making sure that they are facing inwards to words the area where your actor will be at rather, then outwards in away from the main area off. Action number two. Whether indoor outdoor Make sure there are no shadows or creases on the green, even different shade of green if you can help it. This is usually enough to affect the key, so it is best to trying to get rid off all costs. Chattels with additional kino flows shining strategically within the area in order to ensure that the shadows are eliminated. Number three. To help check that the green is the proper chroma shade of green. Hold on a white sheet of paper against a green screen Whiles wearing your magenta green glasses. Have you seen that agreeing on a green screen? It's almost close to the green shade on the white paper through your glasses. Then you've got a proper chroma green set up for king number four. If and that is a large ISS, you are tracking, use market their idol, Breneman shapes or another key global color in the form off crosshairs. If you want to go even more pro, you can print out from online through Google. Such off reduce ALS visual effects some well tracking markers known as produce ALS Now you might think you're is why they call them for do shells. Unfortunately, accurate history on that has been hard to find. So just know that there another form of tracking markers or something used as a point of reference or measurement now that pretty much covers indoor green screens. So what about outdoor green screens? Well, you have less control of an outdoor lighting environment than an in studio lighting environment, so you are really relying on the sun to create a back lit to green screen in the outdoor. So, in other words, you want your green screen to be against the directional lighting off the son. Of course, everything else from using markers for tracking and using a white sheet of paper with magenta green glasses still apply to the set up and preparations often out dog green screen anyway. That's definitely more you can do with the green screen. But as for the basics off setting it up, that's that again, For anything else, it all depends on the production and a special and unique cases. So now that we're done with that, let's proceed to the next step. Capturing data on set full post. 24. Capturing Set Data for VFX: already. So being on set is not just funding games. At times, you knitting now notes numbers and do some data collection offset. In fact, the whole point of having a visual effects super set is to ensure that the data captured is sufficient for the people imposed to work with and news in order to achieve the most realistic, off, sometimes suitable visual effects to the film story world and production needs. So share at a different types of data to capture. On Set as a visual effects supervisor, we'll start first with lighting direction. Now this is typically captured by a neutral objects, such as this neutral gray on the chrome sphere right here, in order to be used in post to replicate any lighting effects in three D. Ideally, if you have a three D character, then the visual effects and production design team would work together to create the head off the character to scale, place it on a stick and get its video and picture taken to record any lighting direction and effects on it. In fact, that is usually a better method than using the chrome sphere to capture lighting direction . But if you don't have the budget for that, then the troposphere would have to do next. We have lighting Hughes. Same thing. The neutral gray on the sphere is used to capture any tent or Hughes off the lighting in this scene. To Dan replicated in post on in a three D environment, especially in the scene, would involve a lot off c g I. And just as having a to scale visual effects prop of any three D character would be ideal in a situation off capturing lighting direction. So wouldn't, in the case off capturing lighting Hughes. Then, of course, we have color tones usually captured by a Macbeth charge. The chart is typically flashed at a start or end off every new scene with new or changed lighting in order to not only determine what the shades would look like with the current lighting set up, but also to make sure that the toned and colors would be captured by the camera used for the production in order to be reliably replicated, are matched to during postproduction visual effects. For example, if a current lighting set up makes the pinks a little hotter, more intense than usual, that data would be useful when attempting to texture any. Three models are composite things into that shot or scene. Outside of visual effects, though, the chant is mainly use in general to calibrate the camera and check skin tones. White melons, etcetera for each shot or scene, making sure that the neutral gray is indeed neutral. Gray in the camera and that skin tone actually looks like skin tone, according to the camera, speaking of cameras, camera data and values F stop lens focal length shot type cetera again. All these are important to capture on set, and usually you won't have to fret too much about it as long as you have a very efficient and professional camera crew. This data would also include any automated darling camera tracks used in any shot, especially if you are talking about adding or subtracting anything in that shot in post later. You definitely want those automated camera track values to recreate any tracking three D virtual cameras. Next up, and depending on the production, you had half motion capture data again. This is entirely optional and subject to any production itself, but in general this type of data would be captured by a really expensive motion capture system, usually indoors in a motion capture studio, are set up manually and cheaply in a small sound stage. In any case, you're usually half motion capture technicians provided to you with the system, so you wouldn't have to actually worry about how to capture the mo cap data so much as what to capture on that note. Also subject to de production itself would be capturing virtual camera production data again. Usually requiring special equipment such as, well, virtual production camera are virtual production technology. You usually have a virtual production cinematographer, even just a DP using the tool as if it was just an ordinary camera, which it is, by the way, we just with an extra devices to stereoscopic camera disparity. And it's relevant camera data, basically the same type of information you would generally gather for a normal camera. But with the added data off the stereoscopic cameras, disparity settings or the distance between the center point off the lands off two cameras for a manually set up stereo camera rig again, there will typically be a theory og ra, for for these special cameras are a really tech savvy DP that would get all this data for you. Your job as a visual effects soup is to ensure that you or at least someone on your team, gets that data from them. Ah, yes, there we have my favorite LEIDER scan, specifically from three D scanning devices for model replication or used in three D Tracking. All you need to know about this specific type of data is what exactly you plan to capture. Because as with the previous special types of data requiring specialized equipment tools, you would typically have a special person in the team working this device. In this case, he or she would be known as the laser scanning technician, usually for larger productions. For smaller productions, however, the device is usually less complex, and you would just have to training guide one of your visual effects crew members on how to push the buttons. Where to focus the scanning on and you're good to go actor measurements again, something that would be provided to you by someone on the production side, perhaps from the casting department, all the hair and wardrobe department. I personally would not worry about getting the measurements yourself again. You just have to ask the appropriate person for it is all. And lastly, anything unexpected that happens in the shot. That effects of visual fax. You want to be sure that you have someone on your visual fix team to capture that random and unexpected data point, just in case you may be using it in post. Now, with that in mind, sometimes you need to work closely with a camera crew because he's second. Our third assisting camera might be the ones collecting info you need for example, the camera data etcetera. So up next, we're going to focus all on working with the camera crew. 25. Working with the Camera Crew: all right, so we mentioned in the last less and it's some of the onset data might be retained by someone else who may not be in your visual effects team all be at all familiar with visual effects. Pipeline. At times the film might know, even allow you to have a vigil fix crew on set, and you are the only guy representing the visual effects department during production. So while you are busy working with a director, you need to convey that info to the camera crew to collect data for you. Here's how it works with a camera crew as a visual effects soup, you communicate with them clearly out of the most simplest of terms. No jargon, no complex, techy terms, just pure and simple English. For example, if you need a camera crew to record specific information on the cross fear on your behalf, my suggestion would be to give them a tablet sheet or paper. Were for table rot shot literally spelling up what you are looking where you would find the data and how you would record them. For example, for RGB values, Shirin saturation values, etcetera. Now this is the same if you work with the second or even third assistant camera. It really doesn't matter which department or who you worked with, so long as you relate instructions clearly and concisely. At this point, you're probably wondering a writer, right? So tell me what info isn't that I would have to collect from the camera crew? Well, you definitely need the following information the F stop camera lens number, focal length shot type shot and take numbers and which takes are N G and which are to be printed again. Your visual effects team needs thes data and minimum for post production purposes, especially if you're talking about scenes and scenes off three D environments or uses. Now, if the production is low on micro budget, then you can be sure that most of the time, if you're unfortunate, the camera crew does not know are not consistent in their record keeping off camera data information. If that should be the unfortunate case, then it becomes your responsibility to ensure that they know what they are doing for visual effects postproduction. Later, in fact, I bring it up to DDP as well and mentioned that hey, so we need to collect the camera data lends info etcetera for visual effects to be successful in post. Would you mind having someone on your camera crew fill out this document for visual effects ? Be gentle and again understand your DP's personality. Most of the time, he or she would just be cool of it and follow your lead in the sense off, instructing the camera crew to collect the information that you need. If you're on a smaller production where everyone knows everyone, then yes, you can even let DP and the assistant director know in advance that some amount of time may need to be taken out for your visual effects. Crew all their camera crew to collect data for postproduction on bigger productions. However, the ideal is for you to make sure that your team dust ings quickly, efficiently and as invisibly as possible. Now, as a little bonus for being my student, I'm attaching a very special resource link to the visual effects societies. Camera report sheets used by actual industry professionals on set. Feel free to check it out in Donald the camera report for you on visual effects team or production crew to use yes, in some sense, the set somewhat has to stop production to collect data for visual fax, although they usually do so reluctantly. That means be sure to have a really good working relationship with your assistant director and a camera crew. Now with what he with a camera crew out of the way, let's move on to learning more about the specialized equipment that may occasionally be involved in visual fix productions. 26. Specialized Equipment for VFX Production: Now there are times a production calls full specialized equipment such as a motorized Cameron Dolly track. Oh, a giant tank off water may be a mole cap system or rig it away as a visual effects soup. You should already have prepared for these during pre prod and got on the team necessary to execute or handle the specialized equipment. Do note, however, that for each and every specialized equipment for visual effects production, the production would have to have its own separate time required for planning the use off these equipment or devices. And so, if they were their own mini production, so very briefly, let's actually go through all that you have seen in the shots earlier and talk about how and when to use them. Thief. Firstly, motorized camera dolly track a k a. Giant crane jib. But to be honest, I just call it for what it is. A motorized camera dolly track based on that. And as you could guess Freddie easily, this specialized equipment is used. Wendy Director DP wants to get a massive, but I view all overhead shot with a bit of a pan or dolly, you know out. Of course, with drones. Nowadays, this may become obsolete, but you could just never beat the smoothness in the camera pans and dollies when using this mega sized tool. Now it's a visual effects soup. As usual. You don't actually need to know how to use them, because there will usually be a professional operator to work the equipment. But you do need to know what is being shot. And imagine how the visual effects is going to look in that shot whilst on set in order to catch any early problems for post later budget. Wiser, this equipment is usually more suitable to productions with above five million, which is actually considered small nowadays again, depending on what the story is about and how many times you need to use a motorized camera dolly. Next up, we have a giant tank of water. Now again, depending on the story and production, this tank of water could be entirely manufactured from scratch or actually be built in in the sound stage. In his example. You see, here there is a giant water tank underneath the what I would call reasonable flaws off the studio, where, for any scenes involving water or in ghostly, a floaty type of effect. Water would then be pumped into the tank and prepped for use again. Your job is just to supervisor visual effects in the shot. So no worries. You don't have to worry about doing the host pumping to the tank itself. Likewise, budget wise that actually rhymed unnecessarily. Well, you could probably expect only mega budget productions to actually have access to these water tanks, probably, but it's anywhere between 50 to 100 million and a buff. Now, finally, we have a more cap system of Rick. So we already discussed this a fair bit in an earlier lesson on capturing set data for visual effects. So I'm going to keep this part shot and sweet busy you would use a more cap system of your goal is to use our translates, move and seamless human organic animation into C G. I. That are, if you're walking on a virtual production, Sirte, which I will actually discuss in the next lesson. As we said about Mo cap earlier, you don't actually need to know how to use the system technically, but you do need to know what you are looking for in the data, in other words, and sure that the actions off the mo cap actors are consistent with the design and personality off the seizure character. Now production budget wise, depending on the type of more cap, its complexities and a number of data sense you'd be capturing from the suits while talking about film budgets anywhere around 50 million and above. Okay, very mind. Final outcome of these equipment usage must be to assist in achieving as effectively as possible the visual effects shot intended. In other words, you don't want to tell your visual effects producer that you'd be needing all these equipment if there's no need for it. For example, don't book a more cap studio. If your goal is just to have and duplicate no human crowds in the background, there are more efficient and cost effective ways to achieving that. Rather than going gaga over specialized equipment, speaking or specialized equipment, I spoke about the virtual production earlier, so you may have heard of it. Some of you may not. Either way, the next lesson will discuss how to work with a virtual production. If you are lucky enough to be on the set off one 27. Working with Virtual Production: alrighty. Firstly, let's start with number one question for this very specific lesson. One exactly, is a virtual production. Well, quite simply, virtue. Production is where the physical and digital worlds collide. In other words, it is a production involving some form of a virtual set, usually recorded and viewed in real time, along with the actual physical shots being filmed on a physical location, usually a more cap, stage or studio. It wants, by showing the director a virtual environment along virtual characters off such on an external monitor while the shots are actually being filmed in a plain and empty more cap studio. A very famous example of use in virtual production include, of course, James Cameron's avatar, where it can see the virtual characters are literally over laid in the screen. Sheer, whereas it does not actually appear in the physical world Now, virtual production usually requires a hefty budget. Dude, individual camera and technology needed to set this up, although that is slowly changing today. But aside, you may find that multi virtual productions are actually films involving the fantasy or sci fi genre on both film and TV, where they either have a lot of shots to be shot in a non existent location or have a May lead character that is basically a C G animal. Who knows? Eat Away. Recent developments in virtual production is now focusing more on real time in high definition productions, almost blending into mixed reality as well, where the main software of choice is less so off three D modelling tools and more so off game engines. In fact, when it comes to virtual productions, Hollywood is taking lead, with many different VP based productions being released from U. S. Soil. Now back to you as an aspiring visual effects soup provincial productions, you need to work with both a skill of visual effects, cinematographer and a technical visual effects team. You also do well in understanding in general how a V P camera works, even if you probably would not be the one operating and using it. Either way, you'll be supervising the visual effects cinematographer Annual visual effects on set team in order to ensure that the contents captured with the camera matches according to the director's vision and what was planned for visual effects in post be prepared toe that depending on how polished the final CD environment or characters are in the recorded VP footage that data captured using the virtual production camera most likely still require tweaking in post production and can be more like an on set poses than anything else. Now, if you like to read more about two visual production, feel free to check out the resource article linked to this lesson already, now that we have most of the visual effects soup stuff you ought to know during the entire production phase. Let's put one. You've learned to practical use and actually prepare yourself for riel production days. So first, a couple of assignments to test yourself before you go on set wells that with assignment number one putting together your own visual effects Soup toolkit More details in the next lesson. 28. Prepare Your VFX Supervisor Toolkit: okay, Not I have gone through all those lessons. This entire section is solely dedicated to you executing your task and completing the assignments. So before we proceed any further, let's that with Simon's number. What? Preparing your visual effects supervisor toolkit. More details can be found in the Assignment lecture coming up in the next lesson. As usual, if you have any questions or stuck at any point at all, feel free to post on a Q and A board or refer back to deed lesson on the Visual Effects Supervisors Tool Kit in the previous section if you need a refresher. 29. Prepare your Green Screen with Tracking Markers: Now you're down with prepping your tool kit. Let's move on to preparing your green screen tracking markers. Assignment number two. Now just a reminder. Depending on your production, your Marcus might look a little different. But for the purpose of this, a silent let's make those portable, randomly shaped cutout ones. More details can be found in the assignment lecture coming up in the next lesson. There's usually if you have any questions, are stuck at any point at all. Feel free to post on the Cuban A board are refer back to the lesson on setting up green screens for production in the previous section, if you need a refresher. 30. Capture On-Set Data: not a desk done well on to our final assignment. Assignment number three. Capturing onset data Now again, a reminder, depending on your production, the types and kinds of data to be captured would be different for the purpose of this assignment Harbor, let's try at least capturing D lighting direction, lying shoes, camera data values and anything interesting that happens in your shot you feel might be useful from your current shooting location right now. And if you are just standing or sitting in your own bedroom, pretend and your current room is the super expensive. Set off the production of your visual effects film again. More details can be found in the assignment lecture coming up in the next lesson. But as usual, if you have any questions, the last stuck at any point at all feel free to post on the Q and A board. Or refer back to the lesson on capturing set data for visual effects in the previous section. If you need a refresher 31. Stereoscopic Production and Post-Production: okay. Now you should at least have some practice of a few off the onset practices. Let's say USA Visual Effects soup have made it through the production phase and are now going to post. So what now? Let's say you are doing a stereo production. You need to understand how it works before you are able to supervise it. So let's begin first with the very definition off a stereoscopic production. So as you can read, a stereoscopic production basically involves the creation of a film with an edit debt factor to it. In other words, creating a story world with the illusion off death, much like in our world, where we perceive the varying distances between objects near and far. So on that note stereoscopic post production hence involves the creation, editing or enhancement of the stereoscopic footage and photography captured from a stereoscopic production. In other words, it involves additional depth and raw data imposed to work with in order to release a final three D film. Now, although I do have a fair bit of experience in stereoscopic post production, I do not claim to be an expert in this area, and I'm only sharing review what I know through all from other experts in the field. So with stereoscopic post production pipeline again, this changes depending on whether the production shot stereo ah mahn of film to then be converted to stereo later. If the production shot flats and want to do stereo in post, then usually a conversion process is involved. Since the conversion process is largely dependent on the visual effects vendor and you as an aspiring visual effects soup have no control over the process. I would not be wasting your time in going through how that works. Instead, I'll walk you through the workflow off in this contacts a production that use a stereoscopic camera to film and get a raw footage. And how that convinced to what happens in post just so USA visual effects Soup on set know what happens behind the scenes after your job on set is done. So depending on the type of camera and how the stereoscopic footage was captured, ideally, postproduction would get either one or some of the following. Two different sets off raw footage from each camera left and right, basically simulating the left and right, I offer human Yes, it's Regis that. I mean, you can try right now. Try it. Close your left eye and then close on, Lee, your right eye and voila! You have that stereo disparity which real life left and right cameras try to recreate anyway, a meta data log off all the camera settings used from the stereoscopic camera and all actual depth layers. Stereoscopic footage that was captured s intended most likely to be adjusted in the sterile camera providers on proprietary tool to adjust his depth after you have thes basic materials, your job s a visual effects soup is to ensure that the director's idea and layout off death is related to the post soup off the person in charge off adjusting and setting the depth off each selected shot. Of course, everything else in visual effects, it's pretty much the same with the exception that additional depth data would be added to the visual effects elements apply or the visual effects artists would work directly on top off the depth data, doing a bit off stereoscopic composting on top of the late depth footage itself. In general, since stereoscopic productions generally involved working with double or more complex footage, this would then, of course, double the amount of work in post election, usually also doubling the amount of time needed to see through post production You a once all visual effects work is done, whichever out the studio chose to do it. The debt footage or right and left eye footage would then be reviewed and then sent back to the editor off the film, much like any typical film production, will cover the editors workflow after this lesson. So no worries. If this seems a little bit confusing for now on that note, unless you are ready post soup or stereoscopic post soup, you need not worry about the nitty gritty of the process workflow as long as you ensure that the depth captured on set or the death intendant for each shot is exactly as is in each Final three D shot coming out from the visual effects studio. That and that there are no stereo breaks into shot, which would cost the viewer any I eggs or confusion in the death that they are seeing on screen. All this, of course, would most likely be captured during three D shot reviews, where yourself the visual effects post soup stereoscopic, post soup producers and director would each have a go at various rounds to review and approve the three D shots, cashing such broken depth shots before they even reach the eyes off your audiences. Now, if you like to lend more, have attached a few links in the resource tab to a three D stereoscopic production company and a great article written by an industry veteran and equations of mine. Mike Seymour, who probably does more justice in explaining the world off. Three D as a seasoned expert in just knish, so feel free to check out the resource is tap in this lesson for more information and learning on how stereoscopic productions and post work. So now that we have stereoscopic production and postproduction bound, let's move on to what the tech industry and motion pictures industry are focused on. Today, with the emerging markets and trends off VR and Cinematic Dome production 32. Virtual Reality or Dome Production and Post-Production: Okay now, depending on the production and opportunities, you might get a chance to experience VR or don't productions. And those are pretty fun. I admit, having worked on a few of your projects and at least one don't like production anyway. There's only so much you can show you in terms off this location, so let's move on to some really on set photos offset productions as a visual effects soup. Here is what you should know about VR Dome productions in post production. But first, what exactly is a via production? Well, it is a production often experience in Director for Passive that is designed to be consumed , are stimulated in a 3 60 degree virtual environment that fully encompasses and immerses the viewer into the experience. Recover more on this topic in our free costs, visual effects and virtual reality theory basics. But very briefly. Here are a few examples off via production with hashtag shameless plug. One of my examples here being the VR beta game I created when I found that my company's sign ups as can see a fully immersive experience that is also completely CGE. And of course, we have the 3 60 videos, all cinematic VR example with within where you are passively immersed into a film virtual world and, in this example, no interactions. Unnecessary now a don't production, on the other hand, is quite similar to VR, with the exception that usually does not encompass your entire view. But you are still immersed into its world by literally being engulfed by a physical dome built in the real world. In other words, rather than wearing a headset, you step into a physical installation simulating a dome shaped type off a thing, and your experience begins there now. Examples off Dome experiences would be the ones found at the Cinerama Dome in Hollywood, California, where showcase films such a Star Wars, Episode three and James Cameron's avatar, for example, and also in Hollywood, California. The Griffith Observatory Planetary in Don't Project, which showcases shot stories about the cosmos and other related phenomena. Okay, so now that we have established both VR and Don't productions, let's talk about post production for these two special types of projects. Now, when it comes to a V, a post reduction, just like the examples above, it usually comes in two ways. One you only use or modified game engines to create virtual reality experiences with interactive components. All use advanced post production tools such as nuke to create typically passive VR experiences. Now going through the workflow for interactive via projects is out off the scope of this cost. But I can and will definitely shed some light on how the via postproduction process works for the what we would call cinematic VR. Now, assuming your visual effects, shoot working on a via film and you are now in post. Here's how a typical simple via postproduction workflow would proceed to keep it simple For the sake of learning, I'm going to say that the footage was shot mono. So no stereoscopic via content for this project. Now the footage would them be ingested into the computer of the editor. The editor makes his or her selected shots, and then those shots are sent to the post houses to create some visual effects. Magic Now, since DVR footage issued a shot with a 3 60 degree type of camera, the edit step in the process would basically come in unwrapping and re wrapping the footage and post reduction so the visual effects studio would use one of the VR stitching tools out there today to essentially create a flattened out version, kind of like a flattened earth off the VR shot work on creating the visual effects on that flattens shot and then reapplied the rep onto the VR shot and review it in the ER as a visual effects took on this type of project, your job really is to ensure that number one, the unwrapping process is done properly, and I'm dealing using the camera shots matter data to do the unwrapped and rewrap. Number two. The warp effects applied onto any and all visual effects. Manchester whopping off the final via render and number three. There are no unsightly artifacts are visual mistakes in the final VR Render during review obviously, is a lot more complicated than this, but for now, this is a good general overview on how the via post production pipeline of works okay, now on to the dome again very similar to V in terms off the workflow. The only exception is that as a supervisor, you probably need to review it on on actual physical dome itself for best results, and that the user's view would definitely be less than 3 60 So there is a different kind off unwrapping re wrapping going on. In fact, from my experience, dome experiences are either best created entirely in three D or shot flat and then wrap to match the dome requirements later. And yes, don't Projects can be both interactive and passive, just like VR projects. A reminder, just like in stairs covered productions, different visual effects Studios have different work clothes. When it comes to these special types of projects, so s a visual effects soup. You simply need to adapt to each type of work floor and work closely with the post soup in charge off that project from the Visual effects studio. They're usually the one that will take over the technical supervision and post with more off that kind of expertise on those types of projects. If their skill set falls into debt. Nish all us a visual effects soup on it. Project need to do is to review for visual effects and ensure that it meets the directors. Creative vision is all all right. So if that wasn't enough, and you'd like to learn more of you some real world examples off beyond our productions feel free to check out. The additional resource is attached to this lesson we showcase is an actual dome like project. I was a part off from Intel. It was pretty cool. And we basically want to volumetric footage shot from a custom made camera system. The footage eventually got launched at CS 2018 and yeah, I was. It was a really fun project, So feel free to check that out. If you'd like to find out more about these special types of productions, Nana, we have via and don't production and postproduction down. Let's go one step backwards and understand the editors work, Phil, before we get to work on any post production, a visual effects shots. 33. Understanding the Editor's Workflow: Okay, Okay. So before we get into post, of course, our visual effects shots have to come from thousands off hours off sorted footage, ticks and shots. And this is where understanding the editors workflow and process helps. So that's begin. First things first. I just want to clarify that in all other lessons why I ever mentioned briefly about the editors workflow Here is the actual detailed version of it. Otherwise, everywhere and everything else will simply state that the editors, the key person involved in moving footage in and out to keep things simple. Okay, so now that that's clarified, here's what the editorial workflow actually looks like. Firstly, what are foolish was shot on set that would actually be handled by this person known as the digital imaging technician D I T. And yes, we did talk about this guy before. But basically his role on the film set and imposed is to ensure that the footage captured gets processed properly for postproduction. Namely, that the color correction is correct. Color lots created match and that proxy files and file formats are created to be sent to the respective people involved in posts, including the editor. Once that stuff is done. The editor will then you see proxies to make the film cut, with the director working closely with visual effects editor off the production to create what is known as an edit decision list or e d. L for short list off very specific numbers and values that determined the exact frame, the frame cut for each shot and all scene in a film, but only this time for the purpose of visual effects. This CDL will only contain the shots that need to have visual effects. Indium Now this CDL from the visual effects editor then gets related back to the person in charge of distributing the raw footage and proxies. Ala. D. I. T. Hiyoshi then exports those parts in the respective formats for the visual effects studio. And that's when the visual effects coordinator from that studio, Julie, steps in and starts correlating and logging in those shots into the studios project management system. At the same time, a color decision list CDL is also given to the visual effects studio, which again is a very similar list to an E. D l, except for specific song color, which, yes, more details on that in an entirely separate lesson later now was your visual effects team received these fouls to work on. Depending on a studio, each shot would usually have what's called a wiggle room off. A few frames at the head and a few frames at the tail end off the shot. The number of frames depend on the visual effects studio and production, but is usually expected from editors in order to have some room to adjust and play with the timing of the shot in D added. And for any potential transitions. As for now on the editors side, who will basically be communicating with the visual effects coordinated the whole time? They will basically be expecting the visual fix team to deliver two types of files once a visual effects shot is ready and approved a small resolution video proxy containing a completed visual effects shot. Any Ian graded the high quality render off that shot. The use off the proxy is simple. It is to allow playback and reviews off the film to run 10 times smoother than Let's Say and NK resolution film on a Mac computer. Where's the original? High quality on great shots will simply be collected to be sent along with the final locked sequence to D colorist and all digital intermedia D I, depending on a production for final grading, finishing and and ultimately distribution who now I know what you're thinking. It sounds really complicated, but really understanding the ins and outs off foul transfers what each type of rendered is for And why really helps in green that placement off where you and your visual effects team is when it comes to the flow of things in the greater scheme off course production and editorial. Anyway, if you like more information on understanding the editors workflow attacks to this lesson are a few useful resource is, and articles from real life editors themselves feel free to check them out. All right, now that you understand the editors workflow, remember all that data you captured on set? Well, it is now time to use that data in your visual effects. Post production 34. Working with Production Data: all right. Now let's see what we get to do with all that data we have captured on set. Firstly, will start with the data. We collect it on lighting direction. We basically uses in three D models and sometimes in compositing or posted is to understand remap and replicated direction off the light. There was captured in real world into a digital virtual environment. Usually you and handles data over to your three artists who would then use it to create a CR I maps that will then project the lighting into a three D environment. Next stop. We have working with lighting shoes again. We used his data in lighting up three D models and imposes to where it is important to retain the lighting, quality, shade and brightness from the set and translate depths to three D. Then, of course, we have the color tones usually collected using the Meg best shot you can see here. I don't actually have a Macbeth child, but I do have the de G K capitals, which pretty much can be used to get the tones after, in this case, whites, blacks and greys in this very production environment now, backdoor Macbeth Child Harbor again we would normally uses in lighting our three D models. And even when composing different layers and trying to match the color saturation issues in the scene. Another important type of data we would have gotten from set were Denby D camera data and values. In four such fcf stop lens number Focal, then shot type etcetera. Again. The visual effects team uses this data mainly imposed raise and in three D environment replication, even for completely seizure shot, sometimes depending on a production and the cinematic story. Speaking of cinematic stories, independence, at times you may walk on a production where motion capture data would be captured. In this case, the data would normally be used in the realistic three D animation off characters and sometimes imposed this, too, where that more cap data would be used to do a rough animation off specific three D models . Tonight, the supervisor and director see what the final visual effects an animated character could potentially look like. Then, of course, we have something known as the virtual camera production data usually use for again. You guessed it the replication off a three D environment or imposed bits where the captured tracking data from the shot is actually recall it with a draft version off the seizure environment on camera. Now next stop, depending on the production. Sometimes he director and producers want to shoot a film in three D, using three D cameras. Now, if that is the case, then additional data you would be getting on set would be the camera values for my stereoscopic camera, including, for example, of the stereoscopic camera disparity between the lenses. Zero parallax point for each shot, the distances between the foreground and background from each camera, etcetera. Again, all these changes as well with how advanced your three D camera is all this simply to capture and retain the death data from production. So I will be used in sterile compositing or in replicating a scene accurately in three D. And, of course, you may have light off scans and three D scanning data for model replication through volumetric clouds. Awful using advice. Three detractors. In fact, lighter data can be used in many things, even beyond visual effects. But we're not going to get into debt right now in the visual effects world light. Our data is you mainly use in creating three D models environment, set building or getting accurate and precise data measurements to create depth and volumetric projections digitally. Who? Okay, we're almost done here, I swear. But as you can probably tell by now, there is a lot of data you have to collect from Set. So it's a visual effects supervisor. You better not fuck it up with chocolate fudge anyway. Back to it camera dollies and automated track calculations, depending on the brand and tours that covered equipment that data collected from these machines basically would be used in the generation off virtual cameras in three D space, translating on mathematical calculations and data to move these cameras in something like Maya, for example, to perhaps track in a three D environment or a bunch off characters. Okay, after measurements used to create three D model replicas off actors for any insane stunts for impossible visual effects, superpowers or for scale comparison that you can see right here notice the scale right day on me. The visual effects team can easily use this to create a safe three D clone that they can then do crazy sh stuff too, and lastly, you have the final set of production data that you are your prospection team, what most likely worked with from set anything interesting that happens with shot that might be useful in Khost, usually written in physical or even digital notes for any unexpected, useful utility in post production. For example, anything unexpected, it happens in the shocked Well, yeah, usually stuck in the notes. I mean, you'll never know Now, even understanding of how to use production data. Let's finally move on to how to work with great it. Color it shots in visual effects as a soup, it is important to know what the final tended dark color look off your scene would look like. Not wanting to give proper guidelines to artists, but also to be able to supervise the set more effectively. So let's move on to the next lesson on color lights. 35. Color LUTs: ah, colors. This is where most of your team's visual effects efforts and post either passes the tests or becomes really obvious that the visual effects implemented a thick now imposed. The application off a tent color scheme or wash over an entire scene or film is usually referred to F d color Lut. In fact, you've probably heard me use this term in an earlier lesson is cause. But to finally enlighten you on what it means in color, lots or color. Look up Table is basically a sent off mathematical formula applied to an image to modify its colors. But in simple terms that everyone can understand is the color look often off the scene and or film. To illustrate this point, let us go through a few scenes from movies with and without Lutz and can see in this first set we have the look of this very same, seen before a color Lut has been applied, and then, after it has been applied with the intention off the color Lut being to convey the mood off the seat. Think of it as the before and after off color grading, and here are a few more examples that you can see, especially this one. The mood really shifts here in conveying the plot point for the story. If anyone has watched this movie now, for those of you who are unaware on bigger productions, it is actually not the editor's job to set the color, tone and hue of the film. In fact, that is an entirely separate, role known Asi colorist who usually take the reins on that interesting inside. Oh, most colorists I know I have met briefly tend to be extremely passionate and obsessed with colors, so a size from understanding the process in the How does effects visual effects just know that color rece very intense people very intense indeed. Yes, for Ben Awas toe your role as a visual effects soup usually would not involve much communications with colorists, as that would fall on the editor and directors shoulders instead. So no need to fret there. That being said, it is so important to understand culottes in general, especially if you're planning on becoming a post soup instead or if you are working on a smaller production where you need to wear multiple hats now at times depending on the production size and resource is, you may find yourself having to direct. I'll be the one in charge of creating a temporary color lut for your team to use whilst data is being transferred over to the visual effects studio from editorial. For those types of situations, you would usually be given a color decision list or CDL in shot similar to t edit decision list. Ideal for shot We've touched on E. D. L. In the previous lesson on understanding the editors workflow. So asking guests. Similarly, a CDL is a list of very specific numbers and values that determined the color for each shot and or seen in the film. Now, in the already posted visual effects soup, any studio you usually are responsible for reviewing the shots with and we doubt lots. Both are important. And here's why. In reviews, lots are used in order to see how the final shots with luxury look like once you has been color Justin or enhance for screening. On the other hand, the exact same shots without luds are used by artists and composite ER's on your team to work with in order to make the visual effects as seamless as possible. hence, reviewing both with the lights on and off is very important. If you're I post soup working on their project now, there are so many lots out there. So before I wrap this lesson up, I've attached a freebie link in The resource is tap that would lead you to more and free color. Let's to play in color. Great your videos with Check it out for more opportunities to learn about colored lights. Well, then moving on. Next up, we'll find out how to work with post soups as an onset visual effects supervisor. 36. Working with Post-Production VFX Supervisors: Okay, Dokey. So, as an onset visual effects soup, at times you will also need to communicate with the post soup. Whether it's someone you know in a team you put together yourself, all someone invented providing the post soup Communication is important. Now we have already covered how a visual effects super differs from post visual effects soup. So if you would like to refresh your memory on that, simply refer to the earlier section with a lecture titled Visual Effects. Post production supervisor is so on that note. Who does what The combo team of the onset soup and post visual effects soup? Well, quite simple. If the onset superstar also the visual effects supervisor for the entire production itself , then they will be the ones giving the final approval on the look and feel of the visual effects of a film for poll soups, they will simply be always seeing an approving the technical execution of the shots and less so on the look of it, unless it applies directly to D technical execution as well. Most importantly, though, the onset our production visual effects supervisors roll. It's all about relaying important information from set to the post election supervisors, after which letting the post visual effects would be the driving force off their teams and letting go off that control of it. Now, the next lesson is Julie, where the post suit take the rings and your work as an onset soup. It's pretty much done, except, of course, for the occasional reviews. So let's talk about draft visual facts with a visual effects process known as post visualization a post this for shot. 37. Draft VFX with Postviz: Ramon. At one lesson, we had way back in preproduction called Visual Effects, Shot Design and previous. Well, we have the second phase to this call Post place Don't. Technically, that is such a thing called techtv is somewhere in production. But that is a bit to advance and too dependent on the production to know if right now, so we just focus on Post is which basically is the process of putting together and creating the preliminary visual effects off a film. After the life action elements and footage happen shot. Now the surely occurs during the later stages of production, or possibly at the very beginning, off post reduction off a film. That's why is called Post a Visualization rather than pre visualization it occurs post the film shoot after the film shoot. Typically, acting s a transition from principal photography to the actual final visual effects itself . Now I actually have a lot of experience during post based on Hollywood blockbusters. So here are just some examples of what Post this is as well as the Post is work. I was actually apart off on a studio post this team Allison wanted them to hear and see comparing what the post was looked like versus T final product. You can see what I meant by preliminary visual effects. Really, If this was a painting, it would basically be the initial brush strokes on a canvas. Then we have waffled planet off the apes. Now for this particular feature, we had some rough three D models that are roughly animated to show the animation. This would then be sent to the studio with the final visual effects team to work on and use as a reference before the final Renders were fully polished. Three D models are created and, of course, my very recent one Aquaman. Now the scene I worked on was the underwater trench creature chasing where the bunch of creatures chase after our command and Mira again. All rough visual effects. A swell as very rough and also very interesting. Keying off the footage plates, eventually leading to what you see here to be done by a separate visual effects studio with a separate visual effects funneling team. Okay, shares the low down on how D post visit process actually works, so a rough cut off the event is usually supplied to the visual effects post this studio, along with any selected Custer, have been rendered out separately, usually in a smaller format. Dendy Final output, perhaps to K or even 10. 80 p. After receiving these materials, the post soup or in this case, someone known as the Post vis supervisor would then go through the rough cut sequence as well as shots signing a few or a bunch of shots to the artists on his or her team. Artists would then work through these shots in a quick, successive manner for reviews that happened throughout the day, now emphasizing the quick and successive. Because again, these visual effects are Onley meant to serve as Assad off a brainstorming visual effects session or draft effects. So the turnaround rates for an artist, depending on the complexity of the shot and rough visual effects, would normally be about 10 to 25 shots per day, similar to how visual effects for television is done. Once a post fish shot has been approved by the post viz soup. That shot goes back to the editor to be approved by the director, and once the director has a proof that that shot is what we call a director final and using groups with a bunch of other directive final shots to be distributed to the final ING visual effects studios. So what is your involvement in the post this phase off visual effects Post reductionist. A visual effect Soup well depends on the kind of visual effects soup you are. If you are a production visual effects soup, then you pretty much have no 20 involvement in the step, with your main priority being the final visual effects and sit. Of course, this is flexible, and it really depends on the budget off the production as well as what you're agreed. Involvement in post production is according to the contract you probably signed. Now, if you're on in house visual effects soup assigned to the project, that is a different story. You probably be walking of a post viz supervisor on reviewing and approving shots, but as far as your technical involvement is involved, few shots will be assigned your way to actually be done. Of course, you do need to know how to do shots toe in order to guide your team and work with your post this soup effectively. During this face proposed with soups. However, I do know off some post with soups, working on their own complex shots. But as a pose viz supervisor, your job really is to help guide the artists with techniques as well as being the first reviewer off all shots coming from your team already. Time to sag, waiting from post viz to the final step in visual effects work known in the industry s visual effects. Finally, which we will look into in the next lesson. 38. VFX Finaling & Post-Production: Hey, long, lot last, uh, way, uh, now and final stages off the visual effects postproduction workflow process known as finally, Why is it so exciting? Well, because this was probably why most people get to visual effects to create the final visual effects that would actually be seen by the masses as a visual effects soup. This is also where you sometimes work with the director to review and approve the final shots, although more than likely he posts, you've already fills that role and does it for you. And unless you are attached to the production itself, your job is pretty much a rap even before Post is. So let's go and first start with the very basics off. One exactly is visual effects. Finally, well, finally, is pretty much do you finishing polishes and tush is done onto a shot to a version that is and will be seen in the theaters as ISS. And no, this is not just about compositing. It is more than that. It actually represents whatever and however much original effects you have to do to make it look like what you see in the cinemas. In other words, you may use the post, his draft, keep plates or three D models and then at some detail to them to then be composited in the final selected shot, etcetera. Now, to help illuminate your mind, here are some examples are finally work I've actually done for riel shows and movies. The walking Dead as you can see in the Shot. The work that I did is what you see on the final Silver Screens going Bongo and indie feature film, where they wanted to have some kind of evil mosquito flying around in annoying the surgeon Dude and also a student film Cathcart with this really awesome post apocalyptic scene shot on CBS studio Lot Pretty nifty stuff. Now, if you want to check out some of my more recent work, check out. Netflix is new shows the society. And what if both of which I had worked on some of the visual effects shots alongside their visual effects team? Okay, so moving on from the shameless plugs one of the expectations for you as a visual effects soup during this face off visual effects postproduction. Well, let's not going through how the filing stage come about and how it ends. Okay, so she has what really goes on in a typical visual effects studios final ING department. Usually the team lead and post soup would review the raw footage selects from the visual effects editor in the appropriate form it for the visual effects team toe work. With Simultaneously, they may also receive other visual effects materials from other visual effects studios, namely, Pose Viz and previous houses. Who would send over that draft visual effects, so to speak, including any three D models used sometimes work files, but most definitely a rendered preview off all the director approved draft visual effects post vis shots. Now, before we even get to the stage off reviewing these items, your visual effects post team most likely has begun working on a few polished versions of three D models and Textures Day working with a C. R. I. And stuff like that. Finally, hence begins when you get a and use all these materials and put it through your visual effects Postproduction pipeline from modeling all the way down to rendering previews, which would then be sent to the Review room, otherwise known as Daley's, to be reviewed by the Post Soups. Some visual effects producers, etcetera. Anyway, we will dive deep into the dailies process, so I'm going to skip the details for now. Ultimately, once the final visual effects reviews have been approved by the producers and director off film, that is when those shots get sent to print to the film editor and by the film editor and his team as a visual effects soup 40 production. You are really directly involved in the final ING phase itself. Unless you are a post soup for a visual effects studio working on those final shots, then yes, you'd be supervising your artists on the execution final. Look off your assigned visual effects shots, etcetera. Otherwise, usually you need not be concerned about the step s a visual effects soup other than how the color lutz looks and effects the final shots. Okay, that was long. So as promise that's actually take a deeper look at that shot to review process known as Daley's that you as a visual effects soup, a post soup get to experience before those shots are literally out of your hands. 39. Dailies & Editorial Review: okay, visual effects, soups and aspiring soups. This is officially and usually the last. Step off your involvement in the production in Post the Dailies and Editorial review. Firstly, what exactly are Daly's? Well, as the name suggests, dailies are specific time set by the studio supervisors and producers. I went to get it together to review any completed renders. This usually happens in these once a day something twice, three times depending on the production in studio protocol, where supervisors off the key departments involved would get into a room and view the progress off pushed awesome minute shots. And Anna Taurel Review, on the other hand, is a specific viewing session where a few of these same key supervisors or the full visual effects team involved in the actual post production of the shot sometimes review the entire scene in the edit or cut sequence, basically revealing them in draft off final mode as how the typical audience member would view them in a cinema. Now, how does the dailies process work for the supervisors themselves? Let's ask a few of our post suits on that process, and one they look for in those shots doing days so most most of time that we actually kind of trying to find the right direction. The seat from the Misha effects supervisor for your simple. There's some some shots that will have practical explosion b shot in the in the in the scene, and we just need to decide if the explosions okay and we need to enhance it. Where do we need to put some other extra elements in it? And then when the we just find the right artists to actually happen to actually either enhance the explosions or just completely replace the whole explosions and the much easier to just replace the whole thing? So we think that you need to matching the look and also the colors and also the details off the explosion from the practical shots just the matter off to make the shots complete and also at the same time. It's good. Typically on my daily processes is I will try at least once a day to have a dailies review with my artists. Um, I throughout the day will approve and give notes, but I believe that as far as a team morale, if everyone is a part of a daily session It kind of boosts everyone's motivation to do better because they see what their other artists are doing. It also puts in context what people are doing. And for the most part, a lot of artists get lost on the box and don't socialize that much. So it forces people to kind of get up, step outside and just kind of have a good laugh sometimes and just kind of talk and but at the same time reviewing our shots. I am ideally always looking for the storytelling process of my shots and make sure that they flow together in the ad it. So even though we'll look at shots as individual, typically, we always put it in the edit, and we'll look at the at it as whole. The way Daley's work is that there's a time of day, sometimes in the morning and the afternoons, sometimes the morning in the evenings. What's expected is that everyone who's working on shots going to present some form of the shot that they're working on to, Ah, the visual effects supervisor inside of a theater or at their workstation or at a big screen. What you're looking for is you're looking to see how far they've gotten with addressing whatever issue you've asked him to work on. Whether it's incorporating some CG into a shot or something, they have to create in the compositing world into the shot, whatever it is, Um, you're just trying to see how far they've gone along with it, so you bring them in. You talk about the shot, you talk about the notes you have for them, and then before they leave, you review the notes and make sure they are taking notes and have those notes available to them so they can do that Specific work. Get back to you with those notes accomplished. Well, what will usually happen properly. Run situations. You'll have time early in the day when the director be no visual effects supervisor and the department heads and as many of their working artists as can get in a room. We'll sit there and go through everything that was done in the previous day. The director will ask questions by, as that looks like that or that isn't what I want or I like that this happened. So it's an approval process and a review process led by the director helped by you're is members of the department, So basically a productions, visual effects, soups, involvement and dailies is simple. You basically aim and look for the overall look and design off the visual, fax and the shots. Now, if you are opposed to for specific department, however, you will usually be the one reviewing the shots with technical and execution errors, usually with and in the presence off other soups in the room as well. Your main goal is not just to ensure that the look of the visual fixes there, but also to see if there are any technical blips made by the artist that catches your eye. Now productions, visual effects, soups, involvement in editorial reviews. Dough changes depending on the studio. Usually, the purpose of the edit review is just to see how the shots look overall in the entire sequence and a check for continuities in the edit. Depending on a production where the dough supervisor is in house and not to end, a studio processes themselves. A production visual effects supervisor may or may not need to be present for this type of review, the editor reviews usually apply motto. Deep post soups and team leads than any other member of the production visual effects crew . Usually, once the editorial daily serve years have done, the coordinator would then be the one handling the final shots and assets, sending them off to the editor of the production, all to the next appropriate studio. And that's it. You're done. Who already we've officially come to the end of the visual effects soups involvement in post. Now, if that was way too much involved, no worries. That is what the next section is for, which will summarize in general things that you should know as a new aspiring visual effects soup. 40. Things a VFX Supervisor Wished You Knew: so find pushing one of things you wished. A new post supervisor. Oh, I'm not this on your visual effects team. You those SAGES don't try not to just jumping and just trying to make the change immediately and take a little time to to, um, observe your environments and also your fellow artists and just kind of like because each team and each productions has a unique characteristic and just embrace it. I think anyone coming into my role or my position, they need to have ah, really strong understanding of filmmaking and the traditional aspects of art. Right now, we're surrounded with technology and the east of with the Internet ability to learn how to use a program. There is not a lot of understanding of why you're using the program. It's just I need to new. I need to learn to this program, so I'm going to learn how to push but a bunch of buttons. I feel that the why is going to be the successful aspect for any artists and any supervisor . Any type of traditional understanding of their craft will help them and make them a better artist and eventually have them have a much more successful career. Well, a lot of people don't get to have the opportunity to hear about the relationships that get built between the visual effects crew and, um, and the clients are directors. It be great if they did it be really great. If everyone could have sort of inside view of those initial meetings and really understand how the relationship they now represent with the client and the studio came about and how it works. I think a lot of people get very frustrated with last minute decisions and changes that coming from the client. And the fact is, that's just always part of the deal. I think the most important thing when you're working with other people is to do whatever you can to avoid them getting frustrated. The last thing you want to do is try to be negative, are are frustrate them and say We're not as good so and so or any of this kind of trash because you're just gonna be end up destroying whatever relationship and respect you have for one another, and, uh, and you won't be able to really recover from that. Don't be a jackass more than anything, else you have to learn how to be a good leader, and that's the whole thing. And that means listening to people understanding people and giving people credit for what they do. That's the biggest thing, the hardest thing to learn. Technique. Listen, we got schools now. You can learn technique, but if you do not know how to respect and listen to your team and everyone else you're gonna be stuck with, only what you know is you're never gonna know enough as you have hunted from our experts. In summary, as a visual effects supervisor, you have to be positive and maintain respect with your team. Do whatever you can to avoid frustrating out of people. Take some time to observe your environment and people you work with, adapt accordingly. Learn how to be a good listener and give people credit for what they do. Understand how to solve problems and maintain a good work ethic. And 30 understand a craft. Are filmmaking Andy traditional aspects All that so On that note, let's move on to visual effects production, best practices 41. VFX Production Best Practices: always do what is best for the production. Never let your ego get the best of you. Best to be over prepared than under prepared. When going on set. Always maintain an open channel of communication between you and your director as well as your team off my jargon. When explaining concepts to non visual effects, savvy people communicate as simply as possible and explain where necessary. Always make sure that the green screen is properly lit and the right shade of green. Always capture more data on set it. Unless you never know when it might be useful. Be aware that each production will be different. There's no hard and fast rule for what to do or bring other than an open mind and strong communication skills. Always be aware of which soup and which vendor you are working with. Always review shots where they find a culottes on and with extra frame handles Off course. There are more tips and insights, but that will only come to you with more experiences on set over time or in my other classes where I review more secrets from the industry. In our next lesson, we would dive into the dynamic working relationship and connection between the visual effects supervisor and producer off any project and discover How does power couple help make movie magic work? 42. The VFX Supervisor & VFX Producer: so to sidetrack a bit from visual. Thanks, production tips and best practices. Let's dive into the deep relationship between the visual effects supervisor and visual effects producer. So one exactly is the relationship between the two. Well, depending on how independent the film production is on a skill off the production budget, both might be the same person. In fact, the film producer may even be the Fridge, Elif expertise or two. But let's assume that for this particular project you are working on, you have a separate individual asset visual effects producer. How does that dynamic that donation ship between the visual effects soup and visual effects Producer go. I'm gonna let our experts chime in on this just because I'm tired of talking. And, uh, I, Ryan let them do the talking for change. All right, here we go. I would say very close, because I mean oh, are, um, task is actually kind of like like in the very short, short, that line. And every day that's like shots need be down. And every weeks that haven't episode need to be delivered, and they need to be update the progress and also update the obstacle like pretty much of three daily basis. So a typical reaction or typical exchange between myself and a visual effects producer is my visual effects producer basically saying, Do this and be saying Okay, no, but I mean seriously. It is one of those relationships where it always trickles down from the top. The visual effects producer is going to be reached out primarily by the director, but the director, since he's more of a creative, wants to talk directly to me. And the producers of the film want, who are mostly worried about financials and money and stuff like that are gonna talk to the visual effects producer because they are in charge of the money for the visual effects department, my relationships with my producers. I've been fortunate to have very strong, honest relationships. Um, I think a lot of that is brought on by the way I communicate with them. I typically will be upfront. I will be honest. I will try to always do exactly what they asked. But at the end of the day between the producer and the director, I am trying to please both of them. It's usually a tag team affair anyhow, so When I do go into battle, there are always going to be on my side. And we have to have each other's back so that we both walk away with the best product that we can in the best film possible when you first meet them. You know, you sort of exchange war stories. You talk about water, what have you done and what he worked on where you come from? What company was that? And and how did you get to do what you're doing now? It's kind of you sort of have this brief, like Like, who are you and Woody? And and with that, you begin, understand? Like how they think and what their experience has been. And so then you can have conversations about the current project, uh, after get that established. So on a day to day basis, though it's all about Okay, um, this, you know, sort of verifying that. Okay, What we're doing is what we planned, right? You know, it's not gonna cost Maura DC Anything coming up are are that might get in the way of this. Have you heard anything from anyone? Eso You have discussions all the time about money schedule crew. Uh, what has to be done? You need a good visual effects producer that I learned that the hard way when I thought I could do both. I've been lucky enough had several very, very good producers that I could work with. And it's just like your you are a two person team, I would say never, ever, ever tried to do something without a strong visual effects producer involved. Working with you as a co equal, the producer would be spending as much time on the set as the OH effects supervisor would again. Watching out. Sometimes making very excellent suggestions, is making sure things were there and then might go back to the office and take care of whatever logistical financial things might be involved in it again. But not very well in the BES handbook. I want kids working with supervisors. It's a close relationship. Usually on the pictures I work on, there's multiple supervisors. Get someone on the production side, then you have supervisors at vendor levels. But you know, the primary supervisor were basically partners in crime. I think my relationships were good with all of them, but they're all different too. because everybody is unique. That's part of being a producer to its, You know, its working with people, and it's finding out how to work best with them. But I'd like to think that my relationship supervisors have been good with a supervisor. It's just it's it's going through all of the tasks that need to be done supporting the supervisor where they need support, and that's different for different people. And, uh, and making sure everybody's on track, making sure the supervisor and all of the crew are focused on what they need to be focused on at that time. We talk all the time. When you're working closely with somebody, you talk all the time about everything. Uh, you know, on interaction, say you're you know, it's a production day and you're going to be shooting, sit down and get the other day talking, right? What are we what are we supposed to be got accomplishing today, where we shooting? So we'll work through what needs to be done that day. Then we all go off and do it, and to the day we'll talk about how it all went. So as you've heard it from the horse's mouth. It is all about maintaining that collaborative spirit and open lines of communication. It is important that both you and the visual effects producer keeping tabs on the visual effects softy production and working in tandem with the director as a team, not individuals, but a team. Just remember to respect each other's views and opinions, and you'll be fine. 43. The Thing about Supervising: any last. What's law students? Those who don't be afraid to make mistake and don't the most importantly. Just don't be afraid to admit, I don't know. I don't understand because nobody knows everything so once and sees you, they almost telling your producer. So we elites out front, and most likely, most of the supervisor will find your help. At the end of the day, I still helping the get the job done and but also at the same time, you learning a new skill and least a win win situation. One thing that I feel that um, students definitely need to take into consideration is to not focus on one thing. If you are an animator, I would say suggest taking dance. I understand your body. Understand why movements happening? Surround yourself with as much knowledge so that you can go in more educated than just someone who is a one trick pony. You will become a much stronger individual on artist if you have the ability to spread your wings and you know, try something else and do something else, and it allows you to continue to be educated and continue to grow. I think it's important not to get, too, um, locked into one discipline. I think it's important to learn as much as you can about everything, especially you gonna be in something is all encompassing is creating visual stories for television are online or motion pictures or whatever you're working on, the more you know about how sound is recorded about how story boarding is done about how computer graphics, visual effects, cinematography, everything learn a little bit about all of it. If you can't learn all of it, it just helps you be a better communicator. You understand how other people get their work done, and they'll have an appreciation for you having that understanding. Yes, it's very dangerous not to know something, but it's even more dangerous not to know something and pretend that you do know something. Ask questions. Listen to people. Don't be afraid to say I don't know, but I'll find out it's a lot better than say, I know that and guessing wrong because it's cold out there on the street. You wanna be, follow your interests, but be open to other experiences because other paths may open themselves up to you. That's certainly happened in my case, and what led me down the visual effects bath. Um, other than that, it's Ah, um, work well with others. Here's the thing about supervising. It is all about communication and finding the best means of communicating your suggestions and solutions. Each production and script will be different, hence calling for different techniques and all props. Sometimes also being on set and supervising on sets can be really demanding. Hence, alertness and flexibility are key to really performing an ex selling as a visual effects supervisor on set, Dabbing said. Regardless of whether you are an on set or post visual effects supervisor, your real work actually begins in preproduction, sometimes even before then, where you go through and understand the script thoroughly before ever even setting foot on set in getting all the way through post production. Your role may vary, of course, depending if you are an onset our post production soup. But the consistency across all types off soups is simple technical expertise and communicating that effectively. That being said, if you are an onset soup, the DP and production design or, more specifically, the props are property department are your friends. If you're I post soup then know that artists will turn to you for help and advice on how best to execute seven shots to achieve the visual effects intended now, To be honest, visual effects supervising is grueling work and definitely much more intense than working behind the computer screen. But it can also be very rewarding, fun and filled with interesting problems to solve and tackle. And that should be about it. Did I miss anything? Perhaps you have some suggestions or new discoveries to add or share about supervising. Well, go ahead and post these thoughts on Cuban a board. If you have any suggestions on new insights and tips to add and share from the set on the set about visual effects. Supervising my name is my chambers. I'm a visual effects producer, and I've been in this business for over 30 years. Good luck to you all on your path. Forward. My name's Joseph Lou. I'm a effects supervisor and senior effect TV for seven years. Have a good day and go out. Have a great adventure. My name is Jim Helen. I've been a visual effects artists and supervisor for 35 years. I've been a an onset supervisor for the past six years and a post supervisor for the past 10 years. I hope you're interested in what's happening. My name is tough. Smith. I am a visual effects previous and post his supervisor. I have been working the industry for roughly 20 years, and my last piece of advice is, if you work hard, make sure you balance it with having as much fun as possible. Work hard, Play hard. My name is Stuart Robertson. I have been in the film business for about 30 years, starting as an optical cameramen, ending opposite visual suit effects supervisor. And then, for the last 14 years I have been a teacher of visual effects, an interest thing. It's been fun. It's been weird. Have a nice day. Study hard by a visual effects handbook, dammit! 44. Stay Tuned for More!: All right, so we've come to the end of this interesting cause in production. I hope you enjoyed the mix up off content into special cause containing detail, information, charts, interviews with pros and even studio footage. Curious, more advanced techniques Well, know that this is only just one off the few in a Siri's off visual effects post and production inside straight from the industry before these tips and tricks coming directly from my working experiences from inside Hollywood itself. So if you want more goodies and golden nuggets off information, stay tuned for more costs is in my visual effects, Siri's. And yes, there will be discounts posted in this cause to be updated. One. Stare up, so stay tuned. 45. Bonus Lecture: "How to Get a Job in Hollywood": do you want to work on a blockbuster movie and get a one way ticket straight onto the Hollywood red carpet? Well, perhaps you might be interested in my other costs. How to get a job in Hollywood, complete with one on one mentoring opportunities for active students. Since you went through the pains of completing this cars or hopefully you did, I offer you a one time only discount code attached to this lesson as a document. Just so you know, does discount code will be changed every now and then, depending on how many people use up dead code, So use it now while the court is still available in his cause. I'll know only posting tips, tricks and inside direct from the heart off the industry. But I'll also be sharing some of my stories in recent jobs, basically information that you could use for your own career development in the film industry. So don't miss out on exclusive inside information. Sign up today and take advantage of a discount