On-set VFX supervision

My supervision starts by breaking down every shot with the post VFX supervisor who inherits the material. We make the plan, I'll deal with the surprises if/when they arise. I carry my own VFX kit: mirrorless and 360° cameras, Macbeth charts, tripods and diffuse/mirror spheres. Should a shoot need more, I'll rent it.

On set, as the post ambassador to the production, my first ally is the DP, who shapes the final look, a craft I understand. First thing every morning, I brief the 1st AD on my requirements, so they're already baked into the day plan. Shooting 360s for HDRIs, capturing Gaussian splats and photogrammetry, assessing tracking markers, I collect exactly what the artists will need later, no less and no more. Set time is precious.

I deliver clear shoot reports (ShotBOT) with camera information, shot vignettes and notes. Each delivery is sorted and ready to use: stitched HDRI, cropped and aligned 3D scans, measurements on photos, not messy sketches. Nobody gets burned later in post. I know the feeling.