How to Make VFX That Looks a Million Dollars

Since the advent of modern CGI, VFX has long been an indicator of the quality and budget of a film, TV show or ad. How often have you heard: ‘The story wasn’t great, but the effects were amazing!’ or something similar? However, as the industry has developed, and new technologies, tools and techniques have come into use - often at a more accessible price - this metric has seemingly become a lot less reliable.

In recent years, we’ve seen some of the top budget blockbusters being dunked on online for VFX akin to that of a PlayStation 1 game, while some indie hits have conjured up magic on a shoestring. Exploring this, LBB’s Ben Conway spoke with VFX producers and supervisors to find out how filmmakers can make sure that every penny ends up on screen, whatever their budget.

“VFX is the domain of Thor’s thunder, putting people on alien planets and bringing dinosaurs back to life,” says Philip Delaney, executive producer at Smoke & Mirrors - a Tag Company. “But not all companies and directors have the time nor the budget of the big motion picture studios.”

[Above: Smoke & Mirrors' Reel]

While it would be ideal to have both time and money for any given project, this is rarely the case. So, as The Mill London’s executive producer Kayleigh Dugdale explains, it’s vital to have at least one of those things, if not the other. “Budgetary challenges often arise from scheduling constraints and the need for additional time. Exceptional work cannot be expected without adequate resources. Ultimately, successful VFX outcomes emerge from a harmonious blend of technical expertise, creative collaboration with a studio like the Mill, and thorough planning.”

This “harmonious blend” is all the more important in the latter half of a project - especially in the final 10% - says Rohtau’s Jordi Barés (founder/CD) and Josh King (head of production and sustainability). After the relatively quick first 60% of a CG build, they say this is where the challenge “truly begins”. Adding in the realism and imperfections at this stage makes or breaks a project, but “can be quite elusive, require the most effort, take almost the same time again, and be extraordinarily hard to perfect”.

“Not many VFX companies successfully reach those high notes,” they add. “The fact is, it relies on having a few ingredients in place.” 

So, what are these ingredients?

Pre-Production, Pre-Vis and Preparation

As with any production, a crucial component is planning and having a clear understanding - from the pre-production stage - of what needs to be achieved in each VFX shot and sequence.

“Creating exceptional VFX within budget constraints demands meticulous planning,” says Kayleigh. “It is highly advisable to engage your VFX partner at the earliest opportunity. We can offer guidance on what can be realistically achieved within your budget, fostering a collaborative approach that aligns with your creative goals and explores the most efficient methods to translate your vision onto the screen.”

Catherine Pavitt, Framestore’s head of production for Chicago and LA, agrees that involving the post team in creative decisions and plans as early as possible is key to getting bang for your buck. “The best VFX supervisors and producers will consistently be looking for the most efficient way to work without sacrificing on the final image,” she says. “Invest in the fundamentals to lay a strong foundation for your visuals! Need pre-vis? Plan for it! Need a supervisor on set? Do it! These upfront investments will always pay off in the long run and will undoubtedly change the course of the project for the better.”

“Each shot needs to be thought out,” adds Philip, saying that a post team should be treated as a crucial part of the pipeline, with as much planning as any live action segment of production. “Make sure to shoot efficiently and plan with storyboards ahead of time with your supervisor on hand, who in turn will be talking to your team of talent.”

He continues, “VFX requires numerous decisions to be made and in some cases, these decisions can be vast due to the complexity of the shot and the various disciplines that are available in the world of VFX. Lessening the 'fix it in post' mentality will be kinder to your budget and talent in the long run, and involving your supervisor with anything you may think will require VFX, no matter how small.”

Andrew Bardusk, VFX supervisor at Zoic Studios, also likes to get everyone on the same page before filming, collecting “a ton of reference material” and solidifying the creative intent. When working on NBC’s ‘Mrs. Davis’ series, he says Zoic had to augment an underwater scene that was shot on dry land, with the main character in a deep-sea suit hanging from wires in front of a green screen. 

“We worked with Zsolti Poczos, the VFX supervisor on the series, and we spent several weeks dialling in a bunch of video and still image references together,” he says. “Even though we had a lot of reference material and we had broad alignment, we still spent several weeks perfecting and tweaking the shots and therefore ensuring that the vast majority of our time was going towards this atmospheric and dramatic moment.”

Rohtau’s Jordi and Josh believe it’s “not rocket science”, advocating somewhat counter-productively for as little post as possible - to condense their efforts to where it’s best applied. “This is all built on a strong relationship of trust with the director, agency and clients so we can have grown-up conversations from the get-go,” they say, “where issues can be ironed out fast and challenges can be met head-on with creative solutions and avoid waste. This allows us to change course early and avoid going too far down the wrong path, which can be costly in terms of time and money.”

“After that, if the creative team, director and post-production team have done their homework, from key concept artwork to mood boards, thumbnailing, audio references, key images and a thorough shoot plan, we are paving the ground to be ready for whatever comes and improvise freely because we are very well prepared, instead of improvising because we don’t know where we are going.”

This R&D and pre-vis phase is a “cornerstone of the process”, says Lesly Lynch and Julie Réali, the director duo known as CHAOS and founding members of decentralised creative production and post-production studio, Space Cowboys.

“They align the client's and artist's visions from the outset,” they add. “At the end, it's a constant balancing act between pragmatism and creativity, where being open to challenges often leads to more innovative solutions.

Pick Your Team Wisely

“VFX is a very labour-intensive endeavour, and the challenge of mimicking reality is a very complex task involving very skilful artists, which requires extreme craftsmanship and time to get just right,” say Jordi and Josh. This is why, adds Tomas Katter, head of motion production at Studio RM, to get the most out of a VFX budget, “it’s vital to collaborate with specialists who excel in their respective fields.”

With each post house and supervisor having their own specialities and nuances, picking the right team for the type of VFX you’re looking for is pivotal. “Getting an idea of their talents and asking for their approach will help you make informed decisions, picking the right team for the job, rather than selection boiling down to availability and cost,” says Tomas.

Following this philosophy, Jordi and Josh custom tailor their team to the project at Rohtau, instead of the other way around. This saves money and wasted effort by bringing in experienced artists who don’t need a huge production team behind them, leveraging their global connections and cloud-based workflow.

Space Cowboys has adopted a similar decentralised model, allowing them also to source top global talent to achieve ambitious projects with a streamlined team. “Of course, this requires rigorous organisation to ensure cohesive work,” say Lesly and Julie. “We've had to innovate and establish clear communication strategies to ensure unified final products from all artists involved. 

Keep It Together

When possible, Smoke & Mirrors’ Philip Delaney advises production teams to try to avoid breaking up the pipeline when it gets to VFX. While each director may have their preferred colourist, editor or sound designer, he explains that having too many vendors in a project can muddy the waters, losing you time and therefore costing more money. “Sticking with the same team will allow you to reap the rewards of a bunch of talent that know each other’s workflows and creatively feed off each other,” he says.  

Maintaining a lean and focused team from production to post-production, adds Tomas, ensures everyone is well-informed and closely connected. By adhering to these principles, the VFX budget is utilised effectively and the final product is more likely to meet the desired vision and standards.

“So the essence of budget and time-conscious effective VFX is a perfectly prepared, well-aligned creative team, with the director at the centre, supported across the board by a client that is well-informed and has the will to go the extra mile on every decision,” say Jordi and Josh. “Add a solid VFX team that brings their magic and you are up for gold.”

They continue, “Many of our projects have achieved great results without overspending and it all starts with a great director who has a clear vision and has done the homework. With a great creative team, we can truly make money go very far.” 

“A good example of this was McDonald’s ‘My Rewards’ where the team and planning we put in place managed to over-deliver in creating 86 fully voxelised CG assets instead of the 17 we quoted.”

“Every single McDonald’s asset was approved by the client on the very first presentation,” they say. “Another good example was Bombay Sapphire's ‘World Gallery’ where the director, client and agency did such an amazing job that the VFX craft is totally invisible.”

Keep It Simple, Stu… dios

“Our recommendation is to prioritise quality over quantity,” says The Mill’s Kayleigh Dugdale. She suggests that visually stunning results can still be achieved in the face of budgetary restrictions, as long as you concentrate on essential storytelling elements in fewer, more precise shots, instead of stretching resources thin.

“For projects with intricate CG-heavy shots, simplification without compromising the storytelling is possible through discussions with our Mill team. A straightforward re-framing might reduce the need to create or animate the entire CG level of the original shot, offering a practical solution.”

Studio RM’s Tomas Katter agrees that it’s important to not overwhelm an idea, instead embracing a strong original concept that complements your vision. “Allocate adequate time to the project, recognising that money equals time,” he warns. “Invest in it wisely! Beware of excessive and conflicting input from too many stakeholders, as this can muddle the vision and inflate costs unnecessarily.”

Making Every Penny Count

“What is clear is that you get what you pay for,” say Jordi and Josh. “Some things are simply not possible with minimal budgets.” While a potentially disheartening statement, not all is lost. “Being clever in the approach can be surprisingly effective,” they continue, “so the question is really about using the resources well - no matter the scale of the project.”

Providing the directorial perspective, the Space Cowboys’ CHAOS duo, Lesly and Julie, say it's about combining creative innovation with practical ingenuity. “By breaking down the creative wisely, engaging conversations with artists, detailing techniques and combining expertises, we are able to design processes where every penny invested is visible on screen.” 

“Having a deep understanding of the post-production pipeline and particular process of each artist is crucial,” they add. “It helps us anticipate and mitigate common issues, ensuring projects are completed in a timely and energy-efficient manner. By keeping up with the evolving VFX landscape and engaging in dialogues with industry pioneers, we've managed to curate workflows and teams that can navigate these changes efficiently.”

Interpreting the treatment of directors, like CHAOS, into visuals is not only the role of studios, but also a way to artistically differentiate themselves from the rest of the industry. 

However, regardless of how big or small the budget may be, the creative has to be realistic for the teams to achieve. “It’s our job to work together to find the right techniques and technologies to make them feasible,” say Jordi and Josh. “In some cases, projects were about to be cancelled until a technical solution made it viable - so it is much more than working with little money.”

“Strong communication with your VFX team can make or break a project,” adds Framestore’s Catherine Pavitt, “we literally make magic for a living - tell us your dreams and give us time to fulfil them!”