Talk us through an average day in your role?
My day varies significantly depending on whether I’m working on a show production or handling office responsibilities between projects. When I’m serving as a production VFX supervisor on the client side, I typically begin in the preparation phase, which involves extensive planning ahead of the shoot. This includes a series of meetings where we discuss methodologies and determine the best strategies for shooting the show in collaboration with other department heads.
By the time we commence shooting, each team has a detailed schedule, ensuring that everyone is aware of their responsibilities. The VFX team prepares a daily plan outlining the necessary data capture for each shot or scene, which is crucial for a seamless transition into post-production.
During the shoot, my role is to be readily available to address any questions from the director, director of photography, or first assistant director. I remain close to the monitors, as even the best-laid plans can encounter unexpected challenges. It’s essential for us to react swiftly to any issues related to VFX to keep the shoot on schedule.
Once filming wraps up, we transition into the post-production phase, where we collaborate with VFX studios to finalise any shot work required for the show. This collaborative effort ensures that the final product meets our creative vision and technical standards.
How did you get started in the media industry?
I moved to London at 20 and, with no formal courses available, pursued numerous runner roles to get my foot in the door. I was eventually hired as a runner and gradually worked my way up through various departments at a handful of companies in London, gaining hands-on experience across the industry. It was a great way to learn how each department works and helped me decide on going down the compositor path.
What training did you have before entering the industry?
I had no formal training available to me at the time. I studied A-Level Art and completed a make-up artists course, initially aiming for prosthetics and horror make-up as I loved horror and fantasy growing up. While working on reception at an SFX company, an engineer introduced me to visual effects, and I began applying for runner positions. After about a year of applications, I was finally hired.
Why do you enjoy working in the industry?
I’ve been in the industry for over 25 years now, and while it’s definitely had its fair share of highs and lows, I honestly can’t imagine doing anything else. One of the things I love most is the people—I’ve been lucky enough to work with and meet some incredible individuals over the years.
What keeps it exciting is that you’re always learning. Technology is constantly evolving, and every project brings a new creative challenge. I love reading a script and then figuring out how to tell that story visually. A lot of that comes from researching the real world, especially when you’re working on projects based on real historical events, fighting and battles, animals and behaviour etc. You end up learning so much along the way, and that’s one of the most rewarding parts of the job. No matter how long you’ve been doing it, there’s always something new to discover.
What piece of advice would you offer someone looking to explore a role similar to yours?
You need to have a real passion for filmmaking and enjoy both the creative side of the job and the constantly evolving technology that comes with it. Stay curious, ask questions, and never stop learning. Most people in the industry are happy to share their knowledge and experience if you show genuine interest.
Be prepared to work hard, because there will be challenges along the way. Not everything will go to plan, and you’ll definitely come up against obstacles, but persistence is key. If you hit a brick wall, don’t give up—keep pushing until you find a way through it. Determination and a willingness to keep learning will take you a long way in this industry.
