By Karen Maierhofer
Some contend that having a visual effects supervisor present on set during production is a luxury; others deem it a necessity. However, few, if any, see it as unnecessary.
Today, more and more VFX supes can be found alongside directors and DPs during filming, advising and problem-solving, with the goal of saving valuable time and expense during production and, later, in post.
“A VFX supervisor is on set and in pre-production to help the director and production team achieve their creative goals. By having the supervisor on set, they gain the flexibility to cope with the unexpected and allow for creative changes in scope or creative direction,” says Zoic Studios creative director John Kilshaw, a sought-after VFX supervisor known for his collaborative creative approach.
Kilshaw, who has worked at a number of top VFX studios including ILM, Method and Double Negative, has an impressive resume of features, among them The Avengers, Pirates of the Caribbean: On Stranger Tides, Mission: Impossible – Ghost Protocol and various Harry Potter films. More recently, he was visual effects supervisor for the TV series Marvel’s The Defenders and Iron Fist.
Weta Digital’s Erik Winquist (Apes trilogy, Avatar, The Hobbit: An Unexpected Journey) believes the biggest contribution a VFX supervisor can make while on set comes during prep. “Involving the VFX supervisor as early as possible can only mean less surprises during principal photography. This is when the important conversations are taking place between the various heads of departments. ‘Does this particular effect need to be executed with computer graphics, or is there a way to get this in-camera? Do we need to build a set for this, or would it be better for the post process to be greenscreen? Can we have practical smoke and air mortars firing debris in this shot, or is that going to mess with the visual effects that have to be added behind it later?’”
War for the Planet of the Apes via Weta Digital
According to Winquist, who is VFX supervisor on Rampage (2018), currently in post production, having a VFX supe around can help clear up misconceptions in the mind of the director or other department heads: “No, putting that guy in a green suit doesn’t make him magically disappear from the shot. Yes, replacing that sky is probably relatively straightforward. No, modifying the teeth of that actor to look more like a vampire’s while he’s talking is actually pretty involved.”
Both Kilshaw and Winquist note that it is not uncommon to have a VFX supervisor on set whenever there are shots that include visual effects. In fact, Winquist has not heard of a major production that didn’t have a visual effects supervisor present for principal photography. “From the filmmaker’s point of view, I can’t imagine why you would not want to have your VFX supervisor there to advise,” he says. “Film is a collaborative medium. Building a solid team is how you put your vision up on the screen in the most cost-effective way possible.”
At Industrial Light & Magic, which has a long list of major VFX film credits, it is a requirement. “We always have a visual effects supervisor on set, and we insist on it. It is critical to our success on a project,” says Lindy De Quattro, VFX supervisor at ILM. “Frankly, it terrifies me to think about what could happen without one present.”
Lindy De Quattro
For some films, such as Evan Almighty, Pacific Rim, Mission: Impossible — Ghost Protocol and the upcoming Downsizing, De Quattro spent an extended period on set, while for many others she was only present for a week or two while big VFX scenes were shot. “No matter how much time you have put into planning, things rarely go entirely as planned. And someone has to be present to make last-minute adjustments and changes, and deal with new ideas that might arise on that day — it’s just part of the creative process,” she says.
For instance, while working on Pacific Rim, Director Guillermo del Toro would stay up until the wee hours of the night making new boards for what would be shot the following day, and the next morning everyone would crowd around his hand-drawn sketches and notebooks and he would say, “OK, this is what we are shooting. So we have to be prepared and do everything in our power to help ensure that the director’s vision becomes reality on screen.”
“I cannot imagine how they would have gone about setting up the shots if they didn’t have a VFX supervisor on set. Someone has to be there to be sure we are gathering the data needed to recreate the environment and the camera move in post, to be sure these things, and the greenscreens, are set up correctly so the post is successful,” De Quattro says. If you don’t know to put in greenscreen, you may be in a position where you cannot extract the foreground elements the way you need to, she warns. “So, suddenly, two days of an extraction and composite turns into three weeks of roto and hair replacement, and a bunch of other time-consuming and expensive work because it wasn’t set up properly in initial photography.”
Sometimes, a VFX supervisor ends up running the second unit, where the bulk of the VFX work is done, if the director is at a different location with the first unit. This was the case recently when De Quattro was in Norway for the Downsizing shoot. She ended up overseeing the plate unit and did location scouting with the DP each morning to find shots or elements that could be used in post. “It’s not that unusual for a VFX supervisor to operate as a second unit director and get a credit for that work,” she adds.
Kilshaw often finds himself discussing the best way of achieving the show’s creative goals with the director and producer while on set. Also, he makes sure that the producer is always informed of changes that will impact the budget. “It becomes very easy for people to say, ‘we can fix this in post.’ It is at this time when costs can start to spiral, and having a VFX supervisor on set to discuss options helps stop this from happening,” he adds. “At Zoic, we ensure that the VFX supervisor is also able to suggest alternative approaches that may help directors achieve what they need.”
According to Winquist, the tasks a VFX supe does on set depends on the size of the budget and crew. In a low-budget production, a person might be doing a myriad of different tasks themselves: creating previs and techvis, working with the cinematographer and key grip concerning greenscreen or bluescreen placement, placing tracking markers, collecting camera information for each setup or take, shooting reference photos of the set, helping with camera or lighting placement, gathering lighting measurements with gray and chrome reference spheres — basically any information that will help the person best execute the visual effects requirements of the shot. “And all the while being available to answer questions the director might have,” he says.
If the production has a large budget, the role is more about spreading out and managing those tasks among an on-set visual effects team: data wranglers, surveyors, photographers, coordinators, PAs, perhaps a motion capture crew, “so that each aspect of it is done as thoroughly as possible,” says Winquist. “Your primary responsibility is being there for the director and staying in close communication with the ADs so that you or your team are able to get all the required data from the shoot. You only have one chance to do so.”
The benefits of on-set VFX supervision are not just for those working on big-budget features, however. As Winquist points out, the larger the budget, the more demanding the VFX work and the higher the shot count, therefore the more important it is to involve the VFX supervisor in the shoot. “But it could also be argued that a production with a shoestring budget also can’t afford to get it wrong or be wasteful during the shoot, and the best way to ensure that footage is captured in a way that will make for a cost-effective post process is to have the VFX supervisor there to help.”
Kilshaw concurs. “Regardless of whether it is a period drama or superhero show, whether you need to create a superpower or a digital version of 1900 New York, the advantages of visual effects and visual effects supervision on set are equally important.”
While De Quattro’s resume is overflowing with big-budget VFX films, she has also assisted on smaller projects where a VFX supervisor’s presence was also critical. She recalls a commercial shoot, one that prompted her to question the need for her presence. However, production hit a snag when a young actor was unable to physically accomplish a task during multiple takes, and she was able to step in and offer a suggestion, knowing it would require just a minor VFX fix. “It’s always something like that. Even if the shoot is simple and you think there is no need, inevitably someone will need you and the input of someone who understands the process and what can be done,” she says.
De Quattro’s husband is also a VFX supervisor who is presently working on a non-VFX-driven Netflix series. While he is not on set every day, he is called when there is an effects shoot scheduled.
Mission Impossible: Ghost Protocol
So, with so many benefits to be had, why would someone opt not to have a VFX supervisor on set? De Quattro assumes it is the cost. “What’s that saying, ‘penny wise and pound foolish?’ A producer thinks he or she is saving money by eliminating the line item of an on-set supervisor but doesn’t realize the invisible costs, including how much more expensive the work can be, and often is, on the back end,” she notes.
“On set, people always tell me their plans, and I find myself advising them not to bother building this or that — we are not going to need it, and the money saved could be better utilized elsewhere,” De Quattro says.
On Mission: Impossible, for example, the crew was filming a complicated underwater escape scene with Tom Cruise and finally got the perfect take, only his emergency rig became exposed. However, rather than have the actor go back into the frigid water for another take, De Quattro assured the team that the rig could be removed in post within the original scope of the VFX work. While most people are aware that can be done now, having someone with the authority and knowledge to know that for sure was a relief, she says.
Despite their extensive knowledge of VFX, these supervisors all say they support the best tool for the job on set and, mostly, that is to capture the shot in-camera first. “In most instances, the best way to make something look real is to shoot it real, even if it’s ultimately just a small part of the final frame,” Winquist says. However, when factors conspire against that, whether it be weather, animals, extras, or something similar, “having a VFX supervisor there during the shoot will allow a director to make decisions with confidence.”
Main Image: Weta’s Erik Winquist on set for Planet of the Apes.