Vine FX’s Post

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)

Shooting for VFX can get quite technical, it's best to have someone from the VFX team or a VFX supervisor on set. However, on smaller projects, that might not be possible. Don't worry though! Even a basic understanding of the technical side can make a big difference. Here are some key tips to remember when shooting for VFX. 😎

The use of green screen or blue screen is used to create space and make backgrounds that cannot be realized during filming in terms of cost and performance. This technique allows us to depict complex and imaginary scenes and environments without the need for real locations or heavy budgets. Green screen is also used to add visual special effects (VFX), change backgrounds, and create natural interactions between actors and animated or digital elements. But in some cases, the videographer, with the discretion of the vfx supervisor, decides not to use the chromakey screen.. In your opinion, when do you think this happens?

This will be a bit of rant of what VFX sup is supposed to do, what is VFX sup's real job. Yesterday I had a chance to share a stage with great crew that made a film that won #Palme D'Or on #Cannes film festival. We had screening and great people from Croatian audiovisual center presented to each of us with a smal replica of Palm D'Or. It was realy nice gesture. Because film is a team work. I worked on that film as VFX supervisor. And it ended up having almost no VFX at all. So question is: why I'm so proud of working as a VFX sup on film having almost no VFX? In my opininion my job, as VFX sup is not to push as much work as possible into VFX studio. My job is to help director tell his story in best way possible while keeping production on budget. In this film, in beginning, we were supposed to do whole lot of environments. Actually almost all environments were supposed to be made with CGI. But we knew that it will be almost impossible to do all of it on time and on budget with quality that it requires. So I spoke with director and we looked at what we REALLY need to show and realized that with slight change to micro location and few tweaks of camera positions and bit fogging of windows we could get almost all environments needed in cammera. And get decent time and money for few shots that realy needed VFX work. That, in my opinion, is real job of VFX sup. To work in a team. To underestand what is emotion and vision that director wants to show. And help team to produce the best possible film with given constraints. And that is why I'm so proud to be a VFX sup on film that had almost no VFX at the end. Thank you #antitalent, Nebojša Sljepčević and #Poster for giving me this oportunity. #VFX #VFXsupervisor #Cannes

Oh hi 👋🏼 Check out Alkemy X's latest Creators Q+A where we talk about project management tips and what makes a successful client collaboration. Thanks Olivia Rotondo for having me!

🌟 Excited to Share My Recent Work! 🌟 As a VFX Compositor, I've recently had the opportunity to work on some exciting projects that involved creating clean plates. Clean plate creation is a crucial part of the VFX process, where I meticulously remove unwanted elements from footage to provide a seamless background for adding visual effects. 🎬 **Key Highlights:** - **Precision and Detail:** Ensured the removal of all unnecessary elements while maintaining the integrity of the original footage. - **Collaborative Effort:** Worked closely with other departments to ensure the final output met the project’s visual standards. - **Enhanced Visual Storytelling:** Contributed to creating visually stunning scenes that enhance the narrative and overall production quality. I'm proud of the work I've done and excited to continue pushing the boundaries of visual effects. Check out some before-and-after examples of my clean plate work below! #VFX #Compositing #CleanPlate #VisualEffects #Filmmaking

Explore the world of invisible #visualeffects with Roni Rodrigues, #VFX Supervisor at Outpost VFX. In our exclusive interview, he breaks down the detailed work that brought authenticity to #BobMarley: One Love. Don't miss this fascinating peek behind the scenes!

Learn how to plan your VFX shots like a pro! Our VFX Supervisor Prakash Kumararajan has crafted this comprehensive guide to walk you through the essentials of pre-production for VFX. Discover the importance of storyboarding, budgeting, and effective communication between directors and VFX supervisors to ensure your project's success. Watch the full guide here: https://lnkd.in/gsx-A7PM

Congratulations to 'Godzilla Minus One' for the Academy Award win for Best Visual Effects! ••• It looked great, and there are a lot of interesting facts circulating. For what I found online, the LA Times reported the VFX Budget was around a quarter to a third of the total budget. If the total budget is supposedly $15M then thats close to around $5M for VFX. IMO I think this proportion is still quite nice for visual effects to be done well on most projects. I'd be happy to work with 33.3% of a show's overall budget. If $200M then, $67M for VFX. BUT I still have questions... What are your thoughts? • Did the Director also bill his time as a VFX supervisor? or was that a line item that was removed due to "passion" for his own directorial reasons? I wonder if he had a side deal/incentive plan with Toho not accounted for in the film's budget? • Did the studio or producers micromanage VFX and require triple bidding for everything? Or did they trust the process and team at Shirogumi from day one? • Was everyone on the VFX team credited? • I love big monsters movies like Godzilla x Kong: The New Empire and can't wait for it! 3/29/24