Meet Your Makers: Pushing the Envelope with Annie Normandin
Whether Annie produces visual effects, live action, runs a motion design boutique studio or manages a product at Autodesk, she always has a single mission at heart: 'foster the creative'.
In the course of her career, Annie has accumulated a solid expertise in production, post-production and visual effects technology. The expertise spans both the technical and management aspects. She has built teams in growing organisations and in challenging times, helped shape roadmaps for leading edge products, established strong business relationships with partners and customers.
For the past three years Annie has produced visual effects for features films at Vision Globale combining her two passions, management of the creative in a visual effects environment.
LBB> What first attracted you to production - and has it been an industry you’ve always worked in or did you come to it from another area?
Annie> I didn’t start in production right away; in fact, production roles weren’t as established back when I started. What initially drew me to this field was the idea of merging technology and cinema- something that didn’t really exist at the time. With an engineering degree, I began my career as a technical director (TD) at Hybrid, focusing on development. Gradually, I transitioned into production, starting as a generalist before joining the software development team at Discreet Logic.
It was an unusual path, especially for the VFX world at the time, but it was an incredibly fun journey. After a quick stop in a growing start up, I returned to school at INIS to study production broadly. I worked with production companies, specialising in VFX for Ads, before officially joining the VFX pipeline at Vision Global, and then later Rodeo FX.
Throughout it all, my interest in technology has been a constant, shaping my approach to production and fuelling my passion for the industry.
LBB> How did you learn to be a producer?
Annie> There are many similarities between team management, product management, and producing - at a high level, it’s all about delivering a quality product on time and on budget while keeping your team engaged and motivated. My previous experiences were incredibly valuable in building those skills, but I really deepened my understanding of producing for film and episodic during a specialty training program at INIS (Institut National de l’Image et du Son) in Montreal.
LBB> Looking back to the beginning of your career, can you tell us about a production you were involved in where you really had to dig deep and that really helped you to grow as a producer?
Annie> Early in my career, I worked extensively on commercials involving motion design and visual effects, but my first major experience with VFX for film came at Vision Globale. Our first big project was Upside Down, a co-production with France. It was a challenging step up, but it was instrumental in helping me grow as a producer and gain confidence in handling large-scale projects.
LBB> A good producer should be able to produce for any medium, from film to events to digital experience. Do you agree or disagree with this statement? Why/why not?
Annie> Absolutely. The fundamentals are the same. Each medium may require adjustments, such as changes in resolution, technology, or turnaround time, but the core skills remain the same. Additionally, the level of client familiarity with visual effects may vary, requiring some guidance and support.
LBB> What’s your favourite thing about production and why?
Annie> There are a few things. Building up the delivery strategy that will ensure success for all parties. Taking a challenge with all the supervisors to find solutions to either new unchartered territories or problems. The satisfaction when we hit this ‘aha!’ moment. Reviewing the material in the theatre and seeing the progress week after week is really rewarding.
The other portion I like very much is building a trusting relationship with the client side producer, when you get to a point where we’re helping each other out. That is equally rewarding.
LBB> How has production changed since you started your career?
Annie> Oh boy, oh boy! You can’t imagine! All of which is driven by constant technology enhancements. Just imagine: I remember there was a time when there was such a thing as 'picture lock'. Now you deliver a last VFX shot just weeks (sometimes even days) before release.
Also, AI has us challenging how we do things. Although we want to keep the artist at the centre of our creation core, we have to find ways of leveraging the technology to reduce painstaking and redundant tasks and improve productivity.
LBB> And what has stayed the same?
Annie> More, more, more! We always want to push the envelope, do something that was never done before! You always start anew with each project.
LBB> What do you think is the key to being an effective producer - and is it something that’s innate or something that can be learned?
Annie> I’d say problem-solving and finding the right balance or 'compromise' to meet the needs of the project. Understanding the client's priorities and aligning the team’s work accordingly is crucial. While many aspects of producing can be learned, it requires curiosity, organisation, and the ability to lead. It’s also important to foster a team environment where success and creativity can thrive, which is essential for a productive and innovative outcome.
LBB> Which production project from across your career are you most proud of and why?
Annie> Definitely 'The Rings of Power' series, because we were challenged and stimulated on many fronts. We had to navigate working in the middle of a pandemic, which added a layer of complexity to the entire production. The scope of the work was vast, with nearly four years of effort spanning both seasons. We also gained confidences and recognitions throughout the seasons and the work.
The team really enjoyed being part of it, which made the entire experience even more fun.
LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?
Annie> Designing of the Ents for the second season of 'The Rings of Power'. It was a real creative challenge to reinvent these iconic characters - reworking their look, behaviour, and movements, especially their walking and overall animation. But beyond the creative side, the real production challenge was figuring out how to schedule such complex work.
LBB> Producers always have the best stories. What’s the hairiest / most insane situation you’ve found yourself in and how did you work your way out of it?
Annie> It was for 'Shang Chi and the Legend of the Ten Rings'. We were tasked with creating an entire city, including a fight scene on the side of a building, with plates of Macau that were supposed to be shot by a second unit on location. But then, Covid hit, and it became impossible to go to Macau at all. Plan A was out the window, so we had to pivot and recreate the entire city in full CG. Not only was it a huge challenge to design and build the city, but we also had to figure out how to deal with the reflections in the mirrors in the scene.
We learned a lot about developing a more efficient rendering strategy, particularly how to optimise camera angles and rendering processes to handle such complex shots.
LBB> What are your personal ambitions or aspirations as a producer?
Annie> Definitely foster creativity within all of our teams.
LBB> As a producer your brain must have a neverending "to do" list. How do you switch off? What do you do to relax?
Annie> I’m a big film buff and love to see a variety of movie types, not just the VFX intense ones. I’m also a big fan of Pilates and great food.
LBB> Producers are problem solvers. What personally fuels your curiosity and drive?
Annie> I’m always on the lookout for new ideas, not just in film, but in art and creativity as a whole. I find that staying up-to-date with trade publications is a great way to learn, but I also look beyond the entertainment industry to other fields and mediums. Learning how people from different industries tell stories - whether it’s through design, technology, or even architecture - helps me think differently and brings fresh perspectives to my own work.
LBB> What advice would you give to people who are interested in becoming a producer?
Annie> Be versatile. A good producer knows how to manage projects, budgets, people and creativity. There are specificities that are really important but first and foremost know how to manage and deal with tasks. You can learn the art of production but being a producer requires experience and great human skills.
LBB> From your experience what are the ingredients for a successful production?
Annie> Having a strong partnership with the client and a clear, unified creative vision. A solid relationship with the client ensures smooth communication and alignment, while a clear creative direction helps guide the entire team efficiently through the pipeline. When everyone is on the same page creatively and logistically, the production moves much more smoothly and effectively.
LBB> What’s the key to a successful production-client relationship?
Annie> Listen to what the client says, but also to read between the lines and understand their underlying needs. Transparency is crucial - keep the client informed and engaged throughout the process. It’s also essential to collaborate closely, exploring solutions together and ensuring everyone is aligned toward the same goals.
LBB> One specifically for EPs: Producers are naturally hands on - they have to be. How do you balance that in the more managerial role of an EP?
Annie> A good EP will always support their producer when something needs to be brought up to a higher level. It’s someone who also needs to be able to hear what the client has to say and always monitor the relationship to maintain trust.
In return, a good producer ensures that their EP is never caught off guard or surprised.
