VFX supervisor Mike Wynd has joined ArsenalCreative from MPC, where he spent eight years in a similar role. Over the years, Wynd has worked on many high-profile projects for directors such as Rupert Sanders, Noam Murro and Adam Berg. He has also won a number of industry awards, including a Silver Clio and a Gold British Arrow, as well as a VES Award nomination.
Wynd started his career in Melbourne, Australia, working for Computer Pictures before landing at Images Post in Auckland, New Zealand. Eight years later, he headed back to Australia to serve as head of 3D at Garner MacLennan Design, where he worked on many high-end animations and effects, including the first Lord of the Rings movie. After that studio was bought out, Wynd joined Digital Pictures. Next, he assisted in establishing a new 3D/design team at FSM. After that he relocated to Los Angeles, where he worked for Moving Pixels. Later, he took on the role of VFX supervisor for MPC.
We reached out to Wynd to ask him a few questions about being a VFX supervisor:
What drew you to VFX supervision?
The thing I enjoy most about VFX supervision is the problem solving. From how best to shoot what we require to seamlessly integrating our effects, through to the actual approach and tools that we’ll employ in post production. We’ve always got a finite amount of time and money with which to produce our work and a little bit of alternative thinking can go a long way to achieve higher quality and more efficient results.
How early do you like being brought onto a project?
I’d prefer to be bought in on a project ideally from day one. Especially on a complex VFX project, being involved alongside production means that we, as a team, can troubleshoot many aspects of the job, that in the long run, will mean savings in cost and time as well as higher quality results. It also gives time for relationships to be formed between VFX and production so that on the shoot the VFX team is seen as an asset rather than a hindrance.
Do you go on set? Why is that so important?
I do go on set… a lot! I have been very lucky over the years to travel to some incredible locations all over the world. It’s so important because this is where the foundations are laid for a successful job. Being able to see how and why footage is shot the way it is goes a long way toward finding solutions to post issues.
Actually seeing the environment of a scene can offer clues that may help in significantly reducing any issues that may arise once the footage is back in the studio. And, of course, there’s the nuts and bolts of capturing set information, along with color and lighting references critical to the project. And probably the most important reason to be on-set is to act as the conduit connecting production and post. The two parties often act so separately from one another, yet each is only doing half the job.
Have you worked on anything at ArsenalCreative yet?
It’s early days for me at ArsenalCreative, but thus far I’ve worked on a Chevy presentation for the motor shows and a series of pod shots for Lexus.
If you had one piece of advice for someone about to embark on a project that involves VFX, what would it be?
Ha! Get VFX involved from day one!