Tag Archives: FuseFX

Behind the Title: FuseFX VFX supervisor Marshall Krasser

Over the years, this visual effects veteran has worked with both George Lucas and Steven Spielberg, whose films helped inspire his career path.

NAME: Marshall Krasser

COMPANY: FuseFX 

CAN YOU DESCRIBE YOUR COMPANY?
FuseFX offers visual effects services for episodic television, feature films, commercials and VR productions. Founded in 2006, the company employs over 300 people across three studio locations in LA, NYC and Vancouver

WHAT’S YOUR JOB TITLE?
Visual Effects Supervisor

WHAT DOES THAT ENTAIL?
In general, a VFX supervisor is responsible for leading the creative team that brings the director’s vision to life. The role does vary from show to show depending on whether or not there is an on-set or studio-side VFX supervisor.

Here is a list of responsibilities across the board:
– Read and flag the required VFX shots in the script.
– Work with the producer and team to bid the VFX work.
– Attend the creative meetings and location scouts.
– Work with the studio creative team to determine what they want and what we need to achieve it.
– Be the on-set presence for VFX work — making sure the required data and information we need is shot, gathered and catalogued.
– Work with our in-house team to start developing assets and any pre-production concept art that will be needed.
– Once the VFX work is in post production, the VFX supervisor guides the team of in-house artists and technicians through the shot creation/completion phase, while working with the producer to keep the show within the budgets constraints.
– Keep the client happy!

WHAT WOULD SURPRISE PEOPLE THE MOST ABOUT WHAT FALLS UNDER THAT TITLE?
That the job is much more than pointing at the computer screen and making pretty images. Team management is critical. Since you are working with very talented and creative people, it takes a special skill set and understanding. Having worked up through the VFX ranks, it helps you understand the mind set since you have been in their shoes.

HOW LONG HAVE YOU BEEN WORKING IN VFX?
My first job was creating computer graphic images for speaker support presentations on a Genigraphics workstation in 1984. I then transitioned into feature film in 1994.

HOW HAS THE VFX INDUSTRY CHANGED IN THE TIME YOU’VE BEEN WORKING? WHAT’S BEEN GOOD, WHAT’S BEEN BAD?
It’s changed a lot. In the early days at ILM, we were breaking ground by being asked to create imagery that had never been seen before. This involved creating new tools and approaches that had not been previously possible.

Today, VFX has less of the “man behind the curtain” mystique and has become more mainstream and familiar to most. The tools and computer power have evolved so there is less of the “heavy lifting” that was required in the past. This is all good, but the “bad” part is the fact that “tricking” people’s eyes is more difficult these days.

DID A PARTICULAR FILM INSPIRE YOU ALONG THIS PATH IN ENTERTAINMENT?
A couple really focused my attention toward VFX. There is a whole generation that was enthralled with the first Star Wars movie. I will never forget the feeling I had upon first viewing it — it was magical.

The other was E.T., since it was more grounded on Earth and more plausible. I was blessed to be able to work directly with both George Lucas and Steven Spielberg [and the artisans who created the VFX for these films] during the course of my career.

DID YOU GO TO FILM SCHOOL?
I did not. At the time, there was virtually no opportunity to attend a film school, or any school, that taught VFX. I took the route that made the most sense for me at the time — art major. I am a classically trained artist who focused on graphic design and illustration, but I also took computer programming.

On a typical Saturday, I would spend the morning in the computer lab programming and the afternoon on the potter’s wheel throwing pots. Always found that ironic – primitive to modern in the same day!

WHAT’S YOUR FAVORITE PART OF THE JOB?
Working with the team and bringing the creative to life.

WHAT’S YOUR LEAST FAVORITE?
Numbers, no one told me there would be math! Re: bidding.

IF YOU DIDN’T HAVE THIS JOB, WHAT WOULD YOU BE DOING INSTEAD?
Maybe a fishing or outdoor adventure guide. Something far away from computers and an office.

CAN YOU NAME SOME RECENT PROJECTS YOU HAVE WORKED ON?
– the Vice movie
– the Waco miniseries
–  the Life Sentence TV series
– the Needle in a Timestack film
The 100 TV series

WHAT IS THE PROJECT/S THAT YOU ARE MOST PROUD OF?
A few stand out, in no particular order. Pearl Harbor, Harry Potter, Galaxy Quest, Titanic, War of the Worlds and the last Indiana Jones movie.

WHAT TOOLS DO YOU USE DAY TO DAY?
I would have to say Nuke. I use it for shot and concept work when needed.

WHERE DO YOU FIND INSPIRATION NOW?
Everything around me. I am heavily into photography these days, and am always looking at putting a new spin on ordinary things and capturing the unique.

WHAT DO YOU DO TO DE-STRESS FROM IT ALL?
Head into the great British Columbian outdoors for camping and other outdoor activities.

Lindsay Seguin upped to EP at NYC’s FuseFX

Visual effects studio FuseFX has promoted Lindsay Seguin to executive producer in the studio’s New York City office. Seguin is now responsible for overseeing all client relationships at the FuseFX New York office, acting as a strategic collaborator for current and future productions spanning television, commercial and film categories. The company also has an office in LA.

Seguin, who first joined FuseFX in 2014, was previously managing producer. During her time with the company, she has worked with a number of high-profile client productions, including The Blacklist, Luke Cage, The Punisher, Iron Fist, Mr. Robot, The Get Down and the feature film American Made.

“Lindsay has played a key role in the growth and success of our New York office, and we’re excited for her to continue to forge partnerships with some of our biggest clients in her new role,” says Joseph Bell, chief operating officer and executive VP of production at FuseFX.

“We have a really close-knit team that enjoys working together on exciting projects,” Seguin added about her experience working at FuseFX. “Our crew is very savvy and hardworking, and they manage to maintain a great work/life balance, even as the studio delivers VFX for some of the most popular shows on television. Our goal is to have a healthy work environment and produce awesome visual effects.”

Seguin is a member of the Visual Effects Society and the Post New York Alliance. Prior to making the transition to television and feature work, her experience was primarily in national broadcast and commercial projects, which included campaigns for Wendy’s, Garnier, and Optimum. She is a graduate of Penn State University with a degree in telecommunications. Born in Toronto, Seguin is a dual citizen of Canada and the United States.

FuseFX moves LA headquarters to 27,000-square foot facility

Ten-year-old FuseFX, which was founded by VFX supervisor David Altenau, has moved its headquarters to a new 27,000-square-foot facility in the Sherman Oaks area of Los Angeles.

The two-building campus can accommodate FuseFX’s 150-person onsite staff and features a 10-gigabit infrastructure capable of managing 4K media and other large data files in realtime; four screening rooms, including a 20-seat theater equipped with 4K projection and monitoring systems; and Sohonet broadband connections with FuseFX’s production facilities in New York and Vancouver, which allows artists at the three sites to share data and resources. Space is available for more technical resources including the possible addition of 4K color grading and finishing.

“FuseFX remains committed to building on the success of our Los Angeles office and growing our operation here,” says Altenau, who has an Emmy Award under his belt for American Horror Story: Freak Show. “Our new space will allow us to continue to tap into the tremendous talent and resources in the LA area and provide services to what remains the largest center for entertainment production in the world.”

L-R FuseFX’s CTO Jason Fotter, David Altenau, LA Mayor Eric Garcetti and FuseFX EP Tim Jacobsen.

Altenau expects the company’s Los Angeles staff to eventually reach 250. “We have [developed] a highly efficient pipeline that results in better creative communication and quality control, and the faster turnaround of shots. Our artists are able to focus on the creativity in visual effects rather than the technical aspects of the process.”

FuseFX produces visual effects for a host of broadcast television shows, including Scorpion, Marvel’s Agents of S.H.I.E.L.D., Empire, The Blacklist and American Horror Story, as well as a growing number of feature films and commercials. The company recently formed a division focused on virtual reality under the banner FuseVR.

At the studio’s recent opening ceremony, LA’s mayor, Eric Garcetti, said, “FuseFX has been rooted right here in Los Angeles for the last decade because the company understands what our city has to offer: unmatched production resources, vast infrastructure and, of course, the best talent in the business. Fuse is creating opportunity and raising the next generation of animators and designers in LA, right where they belong.”

VFX vet Andrea D’Amico joins FuseFX, working on ‘Agents of S.H.I.E.L.D.’

Veteran VFX producer Andrea D’Amico has joined Burbank-based FuseFX, bringing with her 25 years of experience, including tenures at Eden FX, Digital Domain, Riot and CIS Hollywood. Most recently, she served as VFX producer at MPC Montreal, working on Fox’s Victor Frankenstein.

D’Amico joins the FuseFX visual effects team on Marvel’s Agents of S.H.I.E.L.D; FuseFX has received two Emmy nominations and three VES Award nominations for its work on the show.

D’Amico’s many television credits include Warner Bros.’ Person of Interest and Ghost Whisperer and HBO’s Angels in America. Features include The Girl With the Dragon Tattoo, The Social Network and Superman Returns. She was nominated for an Emmy Award in 2008 for her work on the History Channel’s TV movie Life After People.

D’Amico has also held executive posts at Ascent Media.  She began her career in New York at Charlex and EFX Unlimited.

FuseFX strengthens VFX pipeline, preps for end-to-end post

Burbank — FuseFX is busy 24/7 these days, providing visual effects for television, film, and commercials. Their credit list is impressive — they are the primary effects house for Disney/Marvel’s Agents of S.H.I.E.L.D; they worked on all three seasons of American Horror Story; and provided effects for Hell on Wheels (for which they are nominated in this year’s VES awards for Outstanding Created Environment), Criminal Minds, and Glee, to name a few.

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