VFX "How To" and FAQ

PRE PRO

How do I get a bid in preproduction?  ​
​We would be happy to look at your script, do a script breakdown and discuss possibilities with you.  During the pre-pro phase we will be able to provide an "estimate" based on assumptions about how scenes will be shot and based on an estimation of how many angles and cuts you are likely to have.  However, we will only lock in the estimate as a "bid" after we see the actual shots once the film is edited.  That is because you may have more (or fewer!) shots than expected or the scope of work may have changed since the original estimate was created.  During pre-productions discussions we will be able to break down what might change your estimate and offer your time and budget-saving advice. 

When should I hire a VFX Supervisor?  ​
​You may have guess with this questions being in the pre-production section that that is the answer: pre-production.  Having a supervisor on board from the beginning will help you effectively plan shots and ensure quality and consistency throughout the shoot.  If you are only working with one VFX vendor, you would ideally be able to hire a VFX supervisor associated with the vendor who is familiar with their methods.  If you are hiring an independent VFX Supervisor, we recommend hiring one before you consult with vendors because the VFX supervisor will be the best person to assist you in sourcing vendors and in evaluating which VFX vendors or artists best suit your needs. 

PRODUCTION

Do I actually need a VFX Supervisor on set?  ​
Not necessarily, but it could save you money in the long run.  Depending on how involved your VFX needs are, you may find that shelling out a little extra payroll to have a VFX supe on set for the days you’re shooting effects will ensure you get the footage and data required to facilitate the post VFX process.  If your plates arrive to the VFX team sub-optimally, extra work may be required and your post timeline (and budget) may need to be extended.  On the other hand, consulting with a VFX supervisor in pre-production may be all you need to ensure you feel confident in shooting simple VFX plates yourself!

POST PRODUCTION

What do you need from me to create a bid?
​To create a bid, we will need to see the actual shots you want us to work on.  You can either send the shots over as individual .mov files or you can send us the entire film with a list of time codes.  Either way, you should include a description of what work you want done on each shot.  You can also ask us to review the entire project for other work that we might notice.  We prefer you deliver the preview files to us by a method that allows us to frame through the shots frame by frame to check for details, as opposed to just watching them at speed.  The movies you provide for bid should be the same frame range and footage you will provide for the shot plates. You may also provide a temp composite or editing mockup of what you want.  However, it's important that we be able to get a good look at the plates we would be working with to provide an accurate bid.  This is also why we recommend .mov files no smaller than HD.   

How do I deliver plates to VFX?
Ideally, each shot should be delivered individually as a SINGLE PLATE or series of plates cut to the LENGTH of the shot, plus optional handle.  HANDLE is frame padding on each end of the shot that allows the editor to adjust the length of the shot once the shot is complete without having to re-export the shot and send it back through VFX.   Plates should have NO COLOR and NO EFFECTS applied to them. Plates should be named with the movie (or code name) and shot name.  For example a shot that resides in scene 12 of a movie called "Over And Out" as the 5th shot in the scene might be called "OAO_12_05_vfxplate_v001."  We will use your naming convention to deliver shots back (OAO_12_05_comp_v001 for example.)  We prefer you deliver plates as Prores 444 .mov quicktime files, or as an EXR sequence.  (Note that we do not work with H264 or other compressed files.)

What if I want to give your raw camera files with an EDL?
We will only accept this on very large projects, but you must let us know ahead of time and we will add an VFX editor cost to the bid.  This method adds a great deal of work for us as not only must we ingest all of your raw files (which require alot of extra time and storage) but then we must also create an edit from the EDL and then export the plates ourselves as per the method mentioned above.  You're welcome to compare our rate to your editor's or post house's rate for this, however, it's unlikely ours will be lower since we have to start from scratch importing files and setting up an edit timeline whereas your post house already has the timeline set up and ready to export.   

Can you deliver shots back in the original raw camera format?
No.  Camera formats are generally a capture-only format.  We need to work in a viewable/working format.  However, we will deliver shots in the original log color space so as not to lose color information. 

I shot my film in 10K, can you do VFX in 10K?
Technically, yes, but it will cost more to work in large format than in smaller formats. Consider is if that is necessary. Ideally, you will get VFX work done at the format you are finishing in rather than the format you shot in.  For example, if your final film output will be 4K, even if you shot in 10K, you will save a lot of time and money by delivering VFX plates in 4K, and working VFX in 4K. 

Once my plates are exported how do I get them to you?
We can accept hard drives, preferably Windows formatted (although we can also accept Mac formatted drives.)  Or you can deliver via the web upload.  We can provide a Dropbox folder for upload if you don't have your own web storage means.  For small deliveries WeTransfer or similiar can be used.  If you use Google Drive, please make sure the folder is set to be shared with "anyone with the link" rather than shared with a specific email account. 

What is your work review process?
We can work according to your process if you have a specific pipeline in place.  Otherwise our general method is to deliver previews in linear color with your working LUT applied either in H264 or Quicktimes, typically HD.  You will be able to easily preview these files and send us notes.  Once you approve a shot, we will deliver a final in full resolution/log color (or whatever your original color format was.) You should then drop the finals into your timeline and check the full resolution delivery with your final color applied.  If you notice issues that you didn't notice in the HD preview, then send us notes and we will make corrections!  

Do I need to wait until VFX are done to do color?
No! And in fact, we recommend you you either start color before VFX or do them concurrently unless your shots are entirely reliant on VFX (say fully CG scenes).  This is because we will deliver VFX shots in the original color space so your colorist can easily replace the original file with the VFX render and the color should translate exactly.  We also love being able to have a working LUT from your colorist or editing room to preview with.  We will use any LUTs you provide to render previews (unless you request otherwise) so that you can see the shots the way you are used to seeing them, but will deliver finals without any color correction.

What will you deliver for final?  Will I be able to get the project files?
For VFX, our final delivery to you will consist of the shots in whatever final format you choose in the color space that matches the specs you gave us, as outlined above.  We do NOT provide clients with copies of our project files because those are proprietary.  Why, you ask? Because while you may be used to getting project files for things like illustrations done in Illustrator, it's important to note there is a difference with VFX as the VFX project files contain code and setups that can be copied into other projects by other artists,  or sold as templates. Art files (ie .Illustrator), once created by the artist don't contain code that can be replicated which is why it's standard to receive these types of files. However, VFX studios have developed their own proprietary tools, techniques, and styles which is their brand and therefore must be kept private.