The work that happens before a single shot is composited. Chrome balls, colour charts, tracking markers, Lidar scans, previz and technical planning. The foundation that makes every post shot buildable.
VFX supervision on set is what makes the post work possible. Being in the room when the shot is captured: understanding what the plate needs to carry, what data to collect, and how to set up every subsequent shot for the most efficient path through compositing.
The supervisor is the link between production and the VFX team. Chrome ball captures, Lidar scans, tracking markers placed correctly: each one is an investment that pays back in compositing. The right data collected on the day means the post team builds from certainty, not inference.
We've supervised everything from single-shot pickups to multi-week location shoots. The dream sequences and creature work on Boy Swallows Universe, the bushfire environments of Fires, action sequences on NCIS: Sydney, and the period locations of Prisoner of War.
The data collected on set is the raw material of the entire post pipeline. Chrome and mirror balls for lighting reference, colour charts for grading alignment, Lidar scans for geometry, witness cameras for movement. The more complete the data, the faster and cleaner the work in post.
We bring the tools, the protocols, and the experience of knowing which decisions carry the most weight downstream. That includes advising on where VFX is the smarter path for the production as a whole. Sometimes more VFX is the right answer, not less. Making that call well requires understanding the production context, not just the shot list.