Earlier this month, bi-coastal studio Shade VFX brought on veteran visual effects producer Camille Geier as executive producer of its New York location, which recently expanded into a new 5,000-square-foot location.
Geier, who started her visual effects career at ILM as a VFX producer, will oversee Shade’s New York feature and television work, including shots on Marvel’s Netflix series, Daredevil.
She comes to Shade after a recent stint at Rodeo FX. Prior to that Geier spearheaded the feature film division for RhinoFX where, as EP, she oversaw over 20 films, including The Adjustment Bureau, Salt, The Other Guys and Ghost Town. Before that, she worked at Curious Pictures in television animation.
We checked in with Geier to ask her about her new role, her past and visual effects in general. Enjoy.
You have a long and impressive resume. How did you get started in the business?
I started working at a live-action commercial company and then found my way into a live-action commercial company that did a lot of motion-control and stop-motion shoots. While there I learned about compositing and finishing and found myself diving into VFX during the beginning of CG.
What have you learned along the way, from ILM or others?
ILM taught me so much in terms of being a good, solid communicator with clients and with my peers. They taught me the proper way to explain our methodology and the costs behind it, in an articulate and straightforward way. I also learned how to schedule and break out shots in the correct manner, which has now become the industry standard.
How are you going to use that experience in your new role at Shade VFX?
I’ve been working in the New York film industry for the last 10 years and I’m hoping to leverage those relationships that I’ve cultivated. I also hope to bring in more great local talent as well as support our New York clients.
Why was Shade the right choice for you?
I really like that they are only focused on the TV and film community, and that they are committed to keeping VFX work in the US via our LA and NYC offices. I also think they have the best reel in NYC and the highest standard of work/life balance.
Can you talk about the VFX industry in New York a bit and how the tax incentives played a role?
I started working in VFX in NYC back in 2005. There were very few companies back then and it was difficult to find work. Once the tax credits came, and more specifically the post credits in 2012, that was a game changer.
Is there a different culture in New York compared to LA in terms of VFX work?
New York is mainly a commercial town, and most companies run their business targeted for short-term work. Shade works like a West Coast facility, focusing on the marathon and not the sprint. This was a big attraction for me. In order to be successful in this area, I think it’s important to have a proper pipeline and invest accordingly, and Shade’s model reflects that.
Do you share shots with the LA office?
Whenever we can, we work as one company. We have a production meeting everyday between the two offices and we share a lot of resources. However, if it’s a NY tax incentive show, we keep that separate.
What tools is the NY office based around? Is that mirrored in LA?
Our offices are the same. We primarily use Maya, Nuke and V-Ray.
What haven’t I asked that you feel is important to share?
I think it’s important, as a VFX manager, to keep as much work as we can in the States and to wear many hats in order to stay competitive globally.