The Role of the VFX Editor

On a “big” show there might be a team of narrative editors, supported by 1st assistant and possibly 2nd assistants.

The lead editors will take charge of the narrative and the assistant will manage the project, sync rushes, do assembly edits and help out as requested.

However, when it comes to vfx, typically this is fulfilled by a dedicated vfx production editor (aka client side vfx editor/ cutting room vfx editor)

This role helps sets up a workflow, creates, manages, tracks and turns over the vfx footage and associated material to the other stake holders in the vfx process (typically, but not limited to the DI/ Grade/ Online facility and the vfx vendor(s))

The other vfx editor role (aka Vendor or facility side vfx editor) inherits all that data and information and acts as a conduit (along with the vfx producers/ co-ords/ supervisors) between the edit/ timeline/ cutting rooms and the rest of the team who are creating the finished vfx shots.

The two roles share the same exacting details that make up the myriad of editorial decisions taken to tell the story and lie within the cut.

From a narrative editorial point of view, the “tools” that the editors use and manipulate to tell the story are as follows.

What take to use of which shot/ plates (noting a single vfx shot may have multiple pates and or elements)

The In point and the out point of the chosen takes.

The (re)framing of those plates.

The speed of playback of those plates (retimes, reverses, ramping speed changes)

The number of handle frames – head and tail

A close eye must be kept on the colour of these images too.

The Client Side/ Production side/ Cutting Room VFX Editor

In short, the client side vfx editor helps determine the workflow/ sets up/ creates/ tracks and delivers the decisions taken at the source (in the cutting room) and then passes this info and the corresponding material (plates) as a turnover package to the vfx editor on the vendor side of the fence, who acts as a conduit for those editorial decisions between the timeline and the vfx artist teams.

As the narrative story comes together in the cutting rooms and the cut begins to solidify certain shots and/ or scenes will have vfx shots within them. Some stories are extremely vfx “heavy”, others are very “light” and every shade in between. Different genres, loosely speaking, lead to certain types of vfx. Swords and Sandals/ SciFi/ Action/ Monster/ Horror etc.

The vfx editor’s job is oversee, develop, manage and track these shots from inception, to completion and delivery. Depending on the number of shots and their complexity this can be a huge challenge.

As the cut develops vfx editorial will be asked to create temp or “slap” comps to help the lead narrative editor(s) and director visualise and tell their story. VFX at this stage only really need to be conceptual or “good enough” technically, but they must be good for timing as this will be recreated exactly down the line. Foregrounds and backgrounds may be combined in a very rough way, but so long as the timing is good (ie editorially/ narratively) then typically this will suffice for the “offline” stage.

It is of upmost importance that the editor keeps track of all the elements used to make these “slap” comps as they will need to be supplied (aka “turned over”) to the vfx facilities so they can do their best quality versions of the comps/ vfx for the finished theatrical/ release/ tx version.

The editor might grab “any old thing” to help make a slap comp – and it is not uncommon for the vfx vendors to replace elements as they may have greater resources, but this would of course be subject to a wider conversation and agreement.

VFX shots can be anything from a simple retime or reframe, to full CG. All other shots are considered “drama” shots (ie as shot/ captured) . Sometimes on vfx heavy shows there is a lot of pre-planning (pre-viz) of vfx shots and sequences, usually supervised on set by the VFX supervisor. Conversely, some shots become vfx shots as a result of, for example, crew or equipment being visible within the frame which needs removing. In short, some vfx shots are pre-planned, and others aren’t.

As the cut becomes refined and closer to “lock” the vfx editor and the vfx producer will sit down and go through the timeline(s) deciding which shots are for vfx and what the scope of work required is and consider which vendors might be best placed to complete the work.

Vfx workflow has developed over the years and fundamental to the process is the naming and numbering of shots. Each shot is given a unique master shot number, typically in conjunction with a scene ID. (ie AGM_TCC_0010. In this case 1st 3 characters would for example, be an abbreviation for the name of the feature “A Good Movie”, the next 3 characters would be an abbreviation for the scene, for example “The Car Chase” and the next four digits would be identifying that shot as shot number 0010. Typically the next vfx shot in the scene/ sequence would be AGM_TCC_0020 – numbers often jump in 10, or 20’s so if there’s a recut and vfx shots are inserted in between there are still spare and unique numbers to use. Another naming system might be 204_017_0010 – In this case it might be a streaming episodic, so the 204 would imply Series 2, episode 4, scene 017 and shot 0010.). The whole vfx process relies on unique shot names, numbers and plate id’s (ie fg – foreground, bg-background, el – element etc etc). Without these, the process would surely become a mess very quickly. Attention to shot numbers is paramount. They are your friend!

Before vfx work starts, there is typically a bidding process where quicktimes of the scenes, once locked, or nearly locked, and usually numbered, are sent to vendors who bid their fees for the work. Often vfx houses specialise in certain areas of vfx, such as blood and gore makeup, scifi-esque, environment work and monsters, crowds, animations etc. Once the bids are received, reputations and budgets assessed, the work will be awarded to the chosen vfx facilities. Sometimes, given the nature and complexity of a shot, it might be shared between two different vendors, one doing some work, say set extensions, and another vendor adding the monsters.

Furthermore, when the cut is locked, all the shots are numbered, individual plates marked up as fg/ bg etc and the vendors chosen, it is the vfx editorial department’s job to “turn over” all these relevant plates and accompanying material to the correct vendor (including cut references and v000 references/ count sheets etc). Note that this is a very big and important stage for the department (and the production as a whole) as it is the bedrock for a lot of further processes, time and money are at stake down the line. Often turnovers become staggered because the locking of cuts is a staged process too. Accompanying this process, the vfx editorial dept will send a “pull list” usually an edl (edit decision list) to the facility that holds the master rushes, which corresponds to all the footage used in the vfx slaps comps. These master images are then sent to the relevant vfx vendor as these are the raw materials for the artists to complete the vfx shots with. These master plates, along with the editorial packages, complete the turnover. It is in effect the raw ingredients and a reference guide (the recipe) to match too.

The post production department, along with the other stake holders, will issue a Technical Specification (aka “Tech Spec”) at the start of the job explaining in detail how the images/ colour science/ reframing & extractions / sound files should be managed and delivered. This forms part of the “recipe” that all vendors and those working in post need to follow. Again, this is your “friend” as it should clarify any technical questions that may arise.

Over the course of vfx production there is a constant stream and exchange of information between the cutting rooms and the vendors.

Vendors need all the onset data and editorial references and by return, they send their work in progress (W.I.P) versions back to the cutting room for assessment by the director/ editor and vfx supervisor. This “loop” of feedback and new versions makes up a lot of the daily “grind” on show for the vfx department. It is crucial that this process happens as smoothly and efficiently as possible as it is integral to the timely completion of work.

The Vendor Side VFX Editor

On the vendor side, the vfx editor is sometimes responsible for downloading and ingesting the raw plates and other material at the start of their process, into the vendor facility pipeline. However, depending on the size of the show and the facility, there may be a dedicated data i/o (in/ out) team who manage all the transfers/ uploads/ downloads/ exchanges of material.

Once all the material is ingested and with the vendor editor, it becomes their job to kick start the process and to check that everything sent, marries up with the cut reference – that is to say “we have all the material we need to make (better) versions of the (slap) comps that are in the cut reference”.

It should be stated that the editorial departments work with (usually) DNxHD proxy copies of the master rushes, with any colour science, colour conversions and grades baked into them. The colour and resolution of the vendor editorial images should match those that the cutting room are using (the v000 tests should confirm the match)- which for the record, will have come from/ via the DIT/dailies lab. The whole colour pipeline process is another whole chapter (make that a book!) that isn’t really for full discussion here. All footage from the dailies lab is (or should be) deemed a source of truth which is why we test that the vendors can match this when using their pipeline.

There is another important stage to be approved before vfx work can start in earnest, and this is commonly know as the “v000” checks.

A v000 (version zero) is a copy of the hero plate received, that has been pushed through the vendor facility pipeline (with NO vfx added – hence v000). A master high resolution copy (typically delivery EXRs) is sent to the DI/ Grade/ Online facility and at the same time, an editorial version (typically DNxHD)with the colour baked in, sent back to the cutting room. These are then checked and approved (if correct) against the versions that came from the dailies lab. The point of this is to double check that the processing of the images passing through the vendor pipeline have not “damaged” or compromised the integrity of the colour with in the master image.

It is best practice this stage is completed to every stake holders satisfaction and agreement.

Once the v000’s have been checked and approved at the cutting rooms and the DI/Grade facility, this typically green lights the start of vfx work – as the vendor pipelines will have been deemed fit for purpose, and in theory, when the final versions are delivered, they meet the delivery expectations and specifications.

Once the v000 tests are complete, the vendor vfx editor (using the likes of Avid, Premiere, Heiro) will then take the cut reference, put it on a video 1 layer and cut it up into the individual shots. Some of these shots will be vfx shots, so the editor will then take the editorial version of the plate(s) for that master shot number that have been passed through the vendor pipeline (usually DNxHD 36) and line them up on the video 2 layer above the reference layer – and A/B between the two to check they line up correctly paying close attention to the framing and the speed/ retime of the clip)

From this timeline, the plate i/o’s can be extracted and “published” to the facility’s data base (Shotgrid/ Track) along with any other important info, such as retimes, reframes and other plates used. This data base will hold all the editorial information that others will refer to when needed Some of this information can be published automatically, but some may be entered into the data base manually, it depends on the level of pipeline sophistication within the facility and their workflow. It is important that all the correct information does make it into the data base as the rest of the vfx facility will be working to this published information.

Typically the vfx vendor is responsible for checking that all cutting room editorial decisions are being adhered to, especially at the point of delivery. This includes the range (the in and the out), any retimes, any reframes and the number of different plates used. These need to be checked at all times as they can derail at anytime. There’s lots of humans involved after all!

When a version is sent back to the cutting rooms, it is the vendor vfx editor’s job to have checked it in the timeline against the reference before it’s sent. If it is not a match, then it needs to be flagged and potentially not sent until it is correct. Sending “duff” versions reflects badly on everyone.

For example, the first stage would be to check a retime has been done correctly. This is often baked into the v000 delivery. Once the client/ cutting room has approved this the shot can move forwards. Also if there is a reframe, then this may need to be baked in too (sometime they are requested to be baked in, but sometimes not, so the editor needs to track and keep eyes on this. For example, in the cut a vfx shot might have a static reframe – however these are often not done by the vfx facility as they can be done in the online and there’s little appetite for committing such things until decisions have to be taken.)

The vfx facility will often make multiple versions of a shot before sending a WIP (work in progress) back to the cutting room, so they can check, cut in and assess for creative feed back. Often the versions received by the cutting room need to be numbered consecutively (initially a v000) then a v001, then a v002 then a v003 etc etc. However, internally to the vfx facility the version numbers will probably NOT be the same as the client version, so the vfx vendor co-ord and editor need to make sure this issue is managed and tracked.

Through out the whole process, there will be regular vfx dailies reviews, editorial reviews, supervisor and director reviews, exec reviews etc etc. The vfx editors and assistants need to work very closely with the vfx producer/supervisor/ co-ord and set up routines where new shots can be pre-reviewed/ reviewed and assessed as to whom to show in which type of review and when.

Eventually, there will come a point when the vfx shots are signed off, and at this point, the finished versions are sent to the cuttings rooms and the EXR version to the DI/ grade facility to be dropped into the finishing timeline for review on the big screen. It should be noted that sometimes problems are only spotted when viewed on the big screen so these then need to be re-addressed through the same “loop” – version feedback sent back to the vendor and new versions re-supplied.

Also note, and this is very real, that everything described so far has been based on a locked cut. In reality the cut is often “re-opened” (or never really locked in the first place!) and the order/ duration of shots is altered, new shots may be added and some removed. The client side editor will then need to re-issue the cut/ turnover / count sheets /new plates and information, back to the vendors who must then go through the whole process again from the start. This has obvious ramifications to budgets, deadlines and individuals’ sanity. It is the tracking of shots and what stage they’re are at which is at the very core of this whole process. Knowing at the drop of a hat exactly what stage a shot is at, when it will be delivered, what still needs to be done to every one of, potentially, a few thousand shots is where the challenge lies.

As with many stages in the film making process, the earlier set up stages are crucial. There is no accounting for directors/ execs re-opening the cut, but having solid pipelines and processes correctly in place from the earliest stage to be able to deal with this eventuality, is the cornerstone to getting a show over the line.

Good luck! It’s rarely easy!

Note: “VFX shots are never finished…you just run out of time.”