VFX - The role of the VFX Editor
A description for the important role of the VFX Editor for Post Supervisors
Jan 19
This article was kindly contributed by Phil Eldridge.
The VFX Editor is a member of the editorial (or sometimes VFX) department who is primarily responsible for the management of visual effects shots within the film.
The role of the VFX Editor has evolved enormously over the last decade, which is hardly surprising considering the huge increase in the numbers of vfx shots being undertaken in modern productions – a decade ago a few hundred shots would be completed on only the biggest vfx shows; many modern shows will now have 2000+ shots completed on them.
The main duties of the VFX Editor can be roughly separated by into the stages of production:
In Pre-Production, a VFX Editor may join (often as the first member of the editorial team) in order to work with the VFX Supervisor and their Previs team as a Previs Editor and help develop and breakdown sequences prior to the shoot. This isn’t always the case – sometimes a dedicated Previs Editor will be brought in instead, or for smaller shows the Previs company may edit the material themselves – but on larger productions this is increasingly common. During pre-production the VFX Editor may also start developing their pipelines with vendors as the VFX Producer begins to bid and award work, and also with the labs that will process and deliver footage to these vendors.
During Production, the VFX Editor will work closely with the editorial team to track and organize all the material as it is shot that will be relevant to the vfx department – as well as the shot plates themselves, this may include additional reference material (lighting references, clean passes etc), elements (such as explosions, squib hits etc), and alternate passes as requested on set by the vfx supervisor.
The VFX Editor is a member of the editorial (or sometimes VFX) department who is primarily responsible for the management of visual effects shots within the film.
The role of the VFX Editor has evolved enormously over the last decade, which is hardly surprising considering the huge increase in the numbers of vfx shots being undertaken in modern productions – a decade ago a few hundred shots would be completed on only the biggest vfx shows; many modern shows will now have 2000+ shots completed on them.
The main duties of the VFX Editor can be roughly separated by into the stages of production:
In Pre-Production, a VFX Editor may join (often as the first member of the editorial team) in order to work with the VFX Supervisor and their Previs team as a Previs Editor and help develop and breakdown sequences prior to the shoot. This isn’t always the case – sometimes a dedicated Previs Editor will be brought in instead, or for smaller shows the Previs company may edit the material themselves – but on larger productions this is increasingly common. During pre-production the VFX Editor may also start developing their pipelines with vendors as the VFX Producer begins to bid and award work, and also with the labs that will process and deliver footage to these vendors.
During Production, the VFX Editor will work closely with the editorial team to track and organize all the material as it is shot that will be relevant to the vfx department – as well as the shot plates themselves, this may include additional reference material (lighting references, clean passes etc), elements (such as explosions, squib hits etc), and alternate passes as requested on set by the vfx supervisor.
During the time, the VFX Editor will also work with the Editor and start to create temp versions of visual effects shots for the cut, and also start issuing and managing shots with the Postvis team.
In Post-Production, the main responsibility for the VFX Editor is turning over shots to vendors – that is, supplying them with all of the shot elements and timing information required for the vendor to complete their work. They are also then responsible for organizing and running reviews of work-in-progress and final shots with the VFX Supervisor and Director, and maintaining the cut with the latest provided versions of shots. This work is usually tracked by the VFX Editor in a bespoke database. Finally, they will oversee the delivery of all the final VFX shots to the DI (Digital Intermediate) for the final color grade to be applied and the mix laid back, before assisting with a final QC of the film before it is delivered to the studio for release.
Most of this work can overlap a great deal into different areas of production – for instance, VFX reviews may start in pre-production where vendors are already designing assets such as virtual sets and cg characters; Previs may continue into post-production where there is still work required to design fully cg shots, or to prepare for reshoots.
The majority of major studio productions are editing using the Avid Media Composer Software, so this is the primary area of expertise for most VFX Editors; additionally, most are highly skilled with their database software (usually FileMaker), and are often also proficient with other tools such as Photoshop or After Effects.
As films use more and more vfx, there is also now often the need for more than 1 VFX Editor on a show – they may bring on an Assistant VFX Editor, or sometime even multiple Editors, each taking responsibility for different sequences or vendors. With VFX becoming ever more complex, and shot counts continuing to increase, there is a growing demand for skilled VFX Editors in the film production community.
This was written by the brilliant VFX, Previz Editor / 1st Assistant Editor Phil Eldridge.
Please see more about Phil here
In Post-Production, the main responsibility for the VFX Editor is turning over shots to vendors – that is, supplying them with all of the shot elements and timing information required for the vendor to complete their work. They are also then responsible for organizing and running reviews of work-in-progress and final shots with the VFX Supervisor and Director, and maintaining the cut with the latest provided versions of shots. This work is usually tracked by the VFX Editor in a bespoke database. Finally, they will oversee the delivery of all the final VFX shots to the DI (Digital Intermediate) for the final color grade to be applied and the mix laid back, before assisting with a final QC of the film before it is delivered to the studio for release.
Most of this work can overlap a great deal into different areas of production – for instance, VFX reviews may start in pre-production where vendors are already designing assets such as virtual sets and cg characters; Previs may continue into post-production where there is still work required to design fully cg shots, or to prepare for reshoots.
The majority of major studio productions are editing using the Avid Media Composer Software, so this is the primary area of expertise for most VFX Editors; additionally, most are highly skilled with their database software (usually FileMaker), and are often also proficient with other tools such as Photoshop or After Effects.
As films use more and more vfx, there is also now often the need for more than 1 VFX Editor on a show – they may bring on an Assistant VFX Editor, or sometime even multiple Editors, each taking responsibility for different sequences or vendors. With VFX becoming ever more complex, and shot counts continuing to increase, there is a growing demand for skilled VFX Editors in the film production community.
This was written by the brilliant VFX, Previz Editor / 1st Assistant Editor Phil Eldridge.
Please see more about Phil here
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