Freelance VFX Supervisor, VFX Artist, Motion Design and Animation

COMPANY: Lime Pictures
PROGRAMME LENGTH: 30 minutes
GENRE: Serialised Drama
BROADCASTER: Channel 4
SECTOR: Broadcast Television
2D compositor (uncredited) of a 'special' where stunt co-ordinators and safety equipment needed painting out of a moving shot. The shot contained various reflections within windows and other paint work with complex tracking

COMPANY: BBC Studios
PROGRAMME LENGTH: 30 minutes
SERIES: 1
GENRE: Children's Fantasy drama
BROADCASTER: BBC / Netflix / ZDF
SECTOR: Broadcast Television
Working with the production team my role on set was to liaise with the Director and department heads and supervise shooting of the VFX shots and elements. Many aspects of the work involved 'magic' so on set I would need to create workflows to help use props or actions and have these work in post. This included multi pass camera work, split screens, green screens and wire work. In post production I worked as a VFX Artist to take the raw footage and apply various VFX techniques to create shots ready for supplying to the edit. I created a lot of magic particularly systems and morphing of performers along with green screen keying, set extensions and wire work. Pretty much every technique was used!

VFX artist compilation

VFX supervisor compilation

The Worst Witch Series 1

strong>COMPANY: Lime Pictures
PROGRAMME LENGTH: 30+ minutes
GENRE: Teen Drama
BROADCASTER: Disney
SECTOR: Broadcast Television
VFX Artist working on a large volume of shots requiring matte paints, set extensions, 3D compositing, particle systems, wire removal, digital morphing techniques as well as wire removals, green screens and split screen techniques.
Aired Internationally
2016 - Emmy - Nomination

COMPANY: Lime Pictures
PROGRAMME LENGTH: 30+ minutes
GENRE: Teen Drama
BROADCASTER: Disney
SECTOR: Broadcast Television
Designed and presented visual effect styles to production up to executive level before briefing and designing how to film these shots with the director. On set the responsibilities were to aid the Director in capturing all requirements for the any shots with VFX but also be ready to help take on shots that can save time during general filming processes. In post production I assembled of team of artists with a varety of skills to complete assigned tasks. I briefed and supervised the team to deliver VFX shot on time and budget also picking up shots where we could help out the edit and production levels.
2016 - Emmy - Nomination

COMPANY: Lime Pictures
PROGRAMME LENGTH: 30+ minutes
GENRE: Teen Drama
BROADCASTER: Disney
SECTOR: Broadcast Television
VFX Artist working on a large volume of shots requiring matte paints, set extensions, 3D compositing, particle systems, wire removal, digital morphing techniques as well as wire removals, green screens and split screen techniques.
Aired Internationally

FAQs

A VFX (Visual Effects) supervisor oversees the creation and implementation of visual effects in a film, television show, or other visual media project. They work closely with directors, producers, and other department heads to ensure that the visual effects align with the overall creative vision of the project. Their responsibilities include planning and budgeting for visual effects, managing VFX teams, supervising the VFX production process, and ensuring that the final result meets quality standards and deadlines.

I can handle the design and initial discussions around visual effects feesibility along with costs and any methodologies involved in the filming of these. VFX can be a useful way to save time and money in production also enhancing ideas, props, backgrounds as well as providing quick fixes and digital paintouts and as a VFX supervisor I can guide you throgh the process.

Flexability is a must, I am happy to provide cover from a single days cover through to taking on all aspects of the production from pre-production and conceptualising to the on-set supervision and post production. Projects can range from 10 second commercials or a single 'green screen' shoot, through to feature length shows with thousands of potentisl VFX shots.

On set, a VFX supervisor primarily oversees the following elements:
1. Integration of Practical and Digital Effects: Ensuring that practical effects (physical props, sets, etc.) are set up correctly to seamlessly integrate with digital effects during post-production.
2. Data Acquisition: Supervising the capture of necessary data for visual effects, such as reference photos, lighting information, and camera information.
3. Green Screen and Tracking: Ensuring proper setup and lighting for green screens or other background replacements, as well as overseeing tracking markers for camera and object tracking.
4. Stunts: Ensuring that any stunts or actions performed on set are done in a way that allows for the integration of visual effects where necessary.
5. Real-time Feedback: Providing real-time feedback to the director and other crew members regarding how certain shots will look once visual effects are added.
6. Coordination with Other Departments: Collaborating with departments such as camera, lighting, and art direction to ensure that all elements of the scene work together effectively for the final visual effect.

Sure, if you just want to hand over a package of shots I can handle this, I can work as a VFX artist myself or asseble a team; I have a lot of resouces I can call upon at short notice to tackle projects not matter the size.

Yep, I'm very comfortable with a package of shots and working on these as an artist myself taking established ideas or I can asseble a team or artists and co-ordinate these creating a reassuring workflow and quality of post produced shots. I often find myself receiving shots not originally down to be VFX but require some assistance in fixing errors or adding elemets that werre only devised in post production. Anything is possible.

Absolutley, theres no minimum amount of work you can send. I understand sometimes unplanned things can happen and you sometime do need to "fix it in post". Maybe not the ideal situation, but send it over and let me take a look you'd be amazed at what is possible sometimes, I have a lot of resources I can call upon to fix some pretty worring situations.

Again, this is flexible and as per needs but the usual standard data I collect would be slate numbers and board data along with camera details for all VFX shots. Reference balls, macbeth charts, HDRI (360 camera) LiDar scanning with mobile deceives for simple geography recording and light locations but really if you need anything in particualar I can be on set to record it.

It’s ideal to commission a VFX supervisor as early as possible in the pre-production phase of your project. This allows them to be involved in the planning and development stages, offering insights on how visual effects can be integrated seamlessly into the overall creative vision. Early involvement also gives the VFX supervisor time to assess the scope of the project, provide input on budgeting and scheduling, and establish workflows with other departments. This proactive approach helps ensure a smoother production process and a higher quality final result.

PAUL WOODWARD

Visual Effects

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TV, Film & Broadcast Experience

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