Ingenuity Studios’ Post

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Under different circumstances, I would share this image to promote the show I’ve been VFX supervising on its last 3 seasons. Instead, I share it despite having *lost my role* in it. I’d lie if I said it doesn’t sting a bit to see billboards and promos for the show that was a feather in my cap for the last few years, of which I’m no longer a part, but this post isn’t about gaining your empathy. This is about *moving on*, accepting that which is out of my control, and being happy for those who’s fortune smiled at. It’s also about seeing the half glass that’s full. Here’s the scoop: I did nothing wrong. My peer reviews were excellent, the show’s producers loved my work, and I had good relationships with the directors, writers, cinematographer and various department heads. I was a part of the family. But I was a vendor-side supervisor, meaning I was representing the VFX vendor, and not hired directly by the show. When the industry started crawling back from the strikes-induced hibernation, the VFX company I did the show for notified me that due to the slower-than-expected ramp up, they don’t need me back (most of us were furloughed during the strikes). As disappointing as this was, it was not a surprise. I kept thinking of one phrase: “Last one in, first one out”. And indeed, the person currently VFX supervising this show is a GREAT supervisor who has been a part of the studio long before I joined. I’m truly happy that they showed him loyalty (which, unfortunately, wasn’t the case for many many other long time workers). I, on the other hand, was relatively new in the company. This was my first show there. I wasn’t one of their “heavy hitters”, I had very little TV credits. They hired me to deal with their overflow, and now it’s drought season. Makes perfect sense that I’m out. And it’s also a good thing for me. I was already planning my move to another show anyway. I felt hindered by 9-1-1’s fast-pace, no-margines production style. It had its perks, but rarely did my work get acknowledged in the VFX industry. Next to big-spectacle mini series that get feature-film level VFX, my work barely moved a needle. And also, importantly, despite the strikes I was never unemployed. As soon as I was furloughed from the VFX vendor, my own VFX studio needed me back, and I just slid over to commercials. I’m *still* busy at my studio, so in a way, VFX supervising 9-1-1 would have been an enormous juggling act as is. So there you go… Bad news good news. I know for many people out there this is hardly comforting. People are struggling to get by and here I am “whining” about losing one job when I have several. Well I’m not whining, I consider myself extremely fortunate. I’m just very proud of having been a part of this show, and figured I’d promote it even though I’m not a part of it anymore. Share some insights into how I’m dealing with it, and hopefully inspire others. Go watch 9-1-1! #VFX #unemployed #inspired

Outstanding Women in VFX Spotlight: Natalie Byrdsong Best Work: The Fall of the House of Usher (2023) Q: How did you get into Visual Effects (VFX)?  A: I started by being curious and asking friends and then eventually getting into the Warner Bros./HBOMax VFX Coordinator Program. Q: What is your VFX specialty? A: Honestly, I'm still discovering it but I will say is that I loved doing script breakdown in the Warner Bros. VFX Program. I enjoy helping to figure out the look of the Directors vision from the EXACT Beginning! I want to be in THAT room of where it all happens from the beginning. Q: What projects are you most proud of? A: My first Post Production job was for The Fall of the House of Usher on Netflix. I am extremely grateful to the Producer on the show for giving me a chance. Q: What advice do you have for women who want to go into the VFX industry? A: First, look at your resources/network ask to interview them. Ask for all advice you can from them. We now have youtube which provides so much free knowledge that most things can be learned without spending thousands of dollars. Make sure you utilize that to the full extent. Go to events, utilize LinkedIn, get on Slack, ask lots of questions and SHOW UP! Be determined and show your hunger, your eagerness to get in this field no matter what. Q: Is there a woman or multiple women who inspire you? Why? A: Nancy Kirhoffer, her impeccable drive and determination is amazing to see. Janet Muswell, this woman is a trailblazer! Shane Strickman & Constance Joyner. All Powerful women whom I strive to develop similar traits as. Theres more but these women are at the top of my list. #vfx #film #television #womeninvfx #womeninvisualeffects #women #womenshistorymonth #womensupportingwomen #visualeffects #outstandingwomeninvfx

Thought for the day: Studios can save a ton of money with one small adjustment to your shooting schedule: listen to your onset VFX Supervisor. When they ask to move a light or an extra light for a better green screen, do it. When they ask for a clean plate, do it. When they ask for additional shots of extras, do it. VFX Sups are trying to save you money in post and make the vendors job a tad easier, ensuring quality shots. Don’t treat them like a pain in the ass, treat your VFX Sup like a post production superhero looking to save you time, money, and mental anguish.

Absolutely! There's more to it and cost implications to both sides of course but ultimately, VFX supes are here to help. Our job is to help SAVE THE FILM MONEY by ensuring things are done in such a way that you don't end up with a huge vfx bill at the end. Something as simple as moving that cable in the bg 1 foot to the right.... or shifting one tracking marker on the background that's behind that actress's hair...could save you $$ in cleanup. You have to weigh up the costs both ways but yes often... doing a small tweak could ultimately save you $$. (Larger stuff can sometimes have large cost implications on set so there has to be a balance)

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