Understanding the VFX Services Pipeline workflow

Visual Effects are a crucial part of filmmaking. They often make the difference between an average film and one that is memorable. Visual effects (VFX) is a field of computer graphics that helps filmmakers and advertisers create the illusion of reality. VFX artists use software to digitally animate or alter existing images, videos, and models for films and commercials by adding special effects.

Imagine a movie without visual effects. These would never appear in real life. VFX is used in movies to make scenes look more artistic and to express the directors’ ideas more thoroughly when using real images or footages would not be practically possible.

This modern era of visual effects changed how we watch movies today. VFX has become an essential part of filmmaking. The success of the VFX depends on the ability to deliver a product within this workflow. So how are these visual effects created? What is a typical workflow of movie production with VFX?

You’ll see that each stage of the process builds on itself in order to create an end product. The VFX pipeline is a detailed roadmap showing all the steps involved in creating a film. This post will teach you about the visual effects pipeline process step-by-step so you can understand how each stage contributes to the final product. We will provide you with the step-by-step guide of the VFX Workflow in 3 stages –

Stage 1 – Pre-production Phase VFX Services:

Props, makeup, backgrounds, and creatures populate the stages as the story is developed. The VFX artists participate in several stages of pre-production, contributing to a movie’s visual identity before its release. The VFX artists may design and create some elements in their entirety.

As per the vision of the Director, the VFX Team designs the following key components of the film –

Storyboarding & Animatics

Storyboards and animatics are crucial components of the filmmaking process, where artists visualize how scenes will play out.

In the Storyboarding & Animatics phase, the visual representation of a story begins. Animation artists use basic drawings to determine framing, character motion, composition settings within the script.

They analyze character motion and settings with basic drawings to define framing from shot to shot, which can change down the line but gives production teams insights into how things will look on screen.

Pre-visualization

Pre-visualization is more technologically advanced: 3D models are created to represent characters and location concepts that accompany animation throughout complex sequences before filming begins so that everything runs smoothly from start to finish during production.

For pre-visualization, the process essentially converts a storyboard and script into a 3D animated low-quality rough draft low poly models of each VFX shot. The Director can use this opportunity to get an idea of what shots will look like before principal photography begins giving them time to prepare for their final project in advance.

This workflow saves time and money on set by allowing directors to plan out camera angles, location, and composition in advance to spend more time with actors rather than worrying about technicalities during production stages.

Layout/Production Design

Layout designers are responsible for designing how sets should look before filming starts so directors can see if something will work technically and keep costs low by building as few physical items as possible too! The layout designer might use drawings, photos, 3D models, or other visual representations depending on their budget and needs for each project – from their production designers may build more detailed plans based on sketches made by the layout designers.

When production designers create a layout that is then sent off for approval from other team members like directors or producers, they can see what their set will look like before it is constructed- because when shooting on location, there are many things beyond an architect’s control such as weather conditions or even just how much natural light each day at certain times of the year.

Research and development

This is the step where the technical approach of a film is planned and decided. This stage involves much discussion about the software preferences and techniques that will be used for the movie. Initial concepts and ideas are pitched, skeleton teams are assembled, and early pre-visualization is created for presentation purposes.

The first step in any VFX pipeline is usually research and development. During this period, the technical approach to the film‘s effects is decided, focusing on software preference and technique. Most Hollywood blockbusters will require unique programs or plugins more sophisticated than mass-produced VFX software. During the R&D phase, programmers, artists, mathematicians, and even scientists develop the tools necessary to bring the tools necessary on-paper concepts to life.

Character Design

As part of the VFX workflow, Character Design and Development helps create believable creatures and characters in any film or video game. A character’s design focuses on its exterior appearance, determining how it interacts with objects and other entities in the game world. This might involve constructing a clay model and then using that to sculpt the texture in Photoshop or sketch the character. Artists produce 3D models (or hand-draw) by translating these sketches and textures into computer graphics software such as Maya, Blender, or 3D Studio Max. The animators use these digital models to animate the movement of the characters, such as walking, running, jumping, picking up an object etc., while other artists add coloration and other details like hairstyles, wigs, hats, clothing, etc. for more realistic rendering of detail before compositing it all together to create fully rendered finished film clips with audio and motion graphics elements added in post-production work within After Effects sequences.

Research and Development

VFX supervisors work with directors to figure out how certain shots can be accomplished when working on a film. In the meantime, researchers for VFX artists do their research. It also ensures that VFX supervisors can work closely with directors to get an idea of what they want and create a shot list for artists to know exactly what needs to be done on their end.

For example, suppose there is a need for explosions from a very specific type of source like missiles. In that case, they study videos and photos to see how fire and smoke behave before creating tools within programs that will efficiently provide final shots. During this phase, researchers compile reference material such as photographs, sculptures, model sheets, or film stills before being approved and implemented by the VFX artists.

While this stage may not involve any creative input but rather technical tasks, concurrent activities by other departments are necessary during the processing phase.

Budgeting Scheduling

The VFX Supervisor has the tough job of coordinating all aspects and logistics of visual effects-related production. They work closely with their film‘s producers to determine how much money will be allocated for certain tasks. They also determine if green screen shooting should be considered for certain scenes that involve major visual effects.

It is quite common nowadays for films’ budgets to surpass those allotted by producers. It is also challenging to predict how many shots will need enhancement through post-production work because there can be so many changes during the shooting process.

All these stages include lots of back-and-forth with the Director about changes he/she might need, and finally assembling the shots into an actual movie.

Stage 2 – Production Phase VFX Services:

The production process involves selecting the specific VFX shots needed for the film and then shooting the live footage plates and VFX elements separately with no visual effects applied most efficiently. Stunt work and visual effects are often complex and time-consuming tasks. It is important to plan out the whole shoot in advance to be completed on time and within budget.

Typically, certain members of the VFX team will be on set during the actual shooting process. While they have little input into the principal photography, they will photograph everything, from the environment to seemingly minor props. These photographs are used to create textures for 3D models and reference real-world attributes of the scene, such as lighting, object size, etc.

The more detail in reference photography, the more authentic the VFX should appear. Suppose the film is shot in uncompressed Raw video format. In that case, the VFX house is typically provided with a copy of the lossless quality film scan following the shoot to create a more detailed, high dynamic range version for reference and tracking.

The source material is still raw at this point, but it is constantly evolving. As production begins, the visual effects team will collaborate with the production crew to create quality content.

When VFX shots are being shot, they require both high-quality cameras and lenses and audio equipment such as (mic) capsules and (recess) microphones. Camera operators and VFX supervisors need lots of stamina as VFX shoot requires lots of long takes and retakes to perfect.

Chroma screen shooting

Chroma keying is a technique that involves shooting a video against a solid color background and then digitally removing it during the editing/post-production process. After removing the solid color background, you can ‘swap’ the footage‘s background – a technique frequently used in news and VFX work. Thus, while ‘chroma keying’ is post-production work, shooting on set with a screen is the first step.

Green is the cleanest and most bright color processed by modern digital cameras. As a result, you will frequently be able to pull a clean key with minimal noise and consistently without a complicated lighting setup. On the other hand, the brightness of green can cause increased ‘spill,’ meaning the green color may reflect and bleed over onto your on-screen talent or objects.

When keying out in post-production, this can be a nightmare. To avoid this, leave a sufficient amount of space between the talent and the green screen background.

Additionally, green is an excellent choice if you are composing against a ‘daytime’ backdrop. Any remaining green will blend better into daytime footage, whereas blending green against a darker (or nighttime) background will be more difficult.

A blue screen will require twice the amount of light as a green screen and frequently an entire f-stop. However, as a result of this difference in luminosity, blue produces less color spill. Additionally, a blue screen is ideal for simulating darker or nighttime conditions.

Regardless of the color screen you use, shooting in a more uncompressed (or RAW) format ensures that you have more data in the shot and will almost certainly make keying out the footage easier in post.

Motion Capture

Motion Capture (mocap) is a technique for digitally recording human movement. It is used in various applications, including entertainment, sports, medical, ergonomics, and robotics. It is a term used in filmmaking and game development to refer to the process of recording actors’ actions for animations or visual effects. Avatar is a well-known example of a film that makes extensive use of motion capture technology. When the entire body, face, and fingers are captured, or when subtle expressions are captured, this is referred to as performance capture.

The actors are filmed within a tracked space while wearing motion capture equipment. Simul-cam setups enable filmmakers to frame actors against proxy CGI sets and set-pieces and re-shoot shots ‘virtually’ afterwards. The motion capture and virtual camera data are used to create a template for the final visual effects shots. The film director can scout virtual sets, and plan camera moves using a simul-cam or v-cam.

The actors wear optical tracking marker suits and facial capture head cameras on set, which fed data into the Motion Capture software.

Tracking of Motion

Hollywood has a long history of using tracking markers on set to aid motion tracking and rotoscoping artists.

While tracking markers are relatively easy to remove during the shooting phase, introducing extra components/elements into the scene requires additional time for removal.

Consider the following before utilizing motion trackers.

How intricately choreographed is the camera movement in the scene?

Are there sufficient elements in the scene to enable us to perform the track without using markers?

If we do require tracking markers, how long will it take to remove them?

While tracking markers are rarely necessary anymore due to technological advancements in marker-less programs, there are times when they become an absolute necessity. Typically, tracking markers are required if there is no stark contrast between objects and the background or if all you have to work with is a blurry or glossy surface. You may have additional requirements for tracking marker placement, but those first two points will help you define your strategy in the majority of cases.

Stage 3 – Post-production Phase VFX Services:

In post-production stage, the visual effects pipeline is maintained. The completed shots (of all types) are passed off to Grading DI studios, animators, sound editors, and the visual effects post-production teams and various other departments as need arises.

Here are the major stages of preparing the scenes for the VFX workflow in post production:

Analog scenes, digital files

While shooting in raw is generally a good idea and will provide the highest-quality image for your project, you’ll probably want to convert the footage to another working format before it reaches your VFX workflow.

However, suppose you want to keep things simple and avoid re-encoding the raw files.

You choose to shoot your scene in a log format to save time.

They do a good job of capturing dynamic range, and with a 10-bit encode, they leave plenty of room for post-production image manipulation.

This required flexibility can result in less predictable project organization and shot management than with feature work.

Additionally, many small teams will lack a dedicated post supervisor or engineer to keep the project moving forward when technical issues arise. Individual artists may occasionally be responsible for developing and maintaining their workflow.

Analyzing Motion Tracking and Matchmoving data

Motion tracking analyzes footage with a moving camera and/or a moving object and tracks the footage‘s three-dimensional motion to convincingly replicate the camera‘s movement and place objects in the scene. Without motion tracking, visual effects can not be inserted into shots that include camera movement or appear to be attached to moving objects.

This is technically referred to as match-moving when analyzing camera movement, whereas motion tracking is typically used to analyze individual object movement.

Rotoscoping & keying

Rotoscoping and colour keying are methods for removing elements from a live-action shot.

As with green and blue screens, colour keying removes a specific colour from a scene.

Rotoscoping is a more time-consuming alternative to keying that entails frame-by-frame removal of an object or person.

Colour correction management

Colour correction is the process of adjusting the lighting and colour profile of individual shots to achieve a consistent, unified look.

This is not to be confused with colour grading, which is how a film‘s creative look is established after all visual effects have been applied.

After the scenes are ready for VFX, the next step is to determine the type of Visual effects required for a particular scene.

While the tools of the trade evolve over time, the end goal remains constant — to make something fake appear real. While there is considerable overlap between the various types of visual effects in film, the three primary categories of VFX are listed below.

CGI Visual Effects

CGI (computer-generated imagery) is now a pervasive form of visual effects.

Additionally, it is common for people, particularly those outside the film industry, to lump all visual effects under the banner of computer-generated imagery.

To be sure, computers are required for nearly all forms of visual effects these days, so this is a reasonable assumption.

However, the distinction between VFX and CGI is self-evident.

CGI refers to the imagery created entirely within a computer, while other visual effects employ them to augment or combine live-action footage.

The simplest example is computer-generated animation, which has been dominated for three decades by Pixar.

Consider the evolution of their CGI capabilities over time.

Thus, while computer-generated visual effects require only computers, let us consider other types of effects that incorporate them into live-action.

Green screen and compositing

Compositing is defined as the process of combining multiple images into a single image.

Apart from double exposure, the most common and well-known compositing technique is green screen shooting (or blue screen).

The term “chroma keying” refers to the process of replacing a solid background colour with a new image.

Motion capture

Like the old rotoscoping technique, visual effects artists can now use live-action references to create more lifelike CGI.

This is referred to as motion capture (or mocap). Although the technology has been around for some time, its capabilities seem to grow exponentially each year.

The digital characters are created using motion capture data. From there, it’s up to the animators to clean up and enhance as necessary and ensure that the body performance, particularly the facial, is accurate to what the actor is doing. The most challenging aspect is determining how to transfer motion capture data for the face to the digital puppets. The structure and profile of the actor’s face and their avatars are slightly different. The motion translates, but not their personality, so the VFX team must conduct extensive testing and analysis to ensure that everything works flawlessly.

When most people think of visual effects compositing, they envision explosive superheroes, fantastic computer-generated worlds, and epic action sequences.

This type of work is typically only possible with large teams of individuals responsible for individual sequences.

VFX supervisors and team leads plan the workflows for these shots months in advance.

They determine the file types, working colour spaces, folder structures, and naming conventions during pre-production.

Beginning with tracking shots, the VFX artists collaborate with their Supervisor and Film Director to develop shot concepts from paper to the big screen.

This is followed by modelling and texturing where necessary, and finally lighting using care packages or personal lighting equipment where appropriate.

Certain shots necessitate an extraordinary level of detail, such as sky-lighting intricate matte paintings or miniature environments, which require compositional approval between shot and scene.

Some important factors to consider during the VFX production pipeline

Speed vs. Quality

It doesn’t matter if you’re a VFX artist looking to crank out renders fast or a filmographer looking to capture sound in tact. You need a highly efficient work execution machine to bring your vision to life. If you aren’t familiar with the terms “VFX workflow speed” and “Quality”, it’s probably best to sidestep this discussion until you have more knowledge about your chosen field. The takeaway here is that you need the tools necessary to execute your designs at blazing speed, but at the same time be able to capture high-quality images and clips that would rival the work of any VFX house.

Managing visual effects is a balancing act between workflow and quality. You can’t afford to spend more time on effects than you need to. If you spend more time on rendering than actually working on your work, you are going to suffer in the end. Frankly, I’ve found that there is often an interestingly direct relationship between image quality and the quality of the rendered result.

Your goal should be to simplify this process as much as possible by identifying the most important factors in your workflow and choosing the right tool for each one of them.

There are definitely benefits to working faster and using faster tools – saving time on post, improving queries, etc – but if you get in the habit of sacrificing Quality for simplicity in your work, you might be doing it wrong.

A faster computer allows VFX artists to start and finish their jobs more quickly. Quality is also important: Depending on what you do and where you’re working, you may need different types of software.

Common VFX Software

• Adobe After Effects

• Maxon Cinema 4D

• Autodesk Maya

• Syntheyes

• 3Ds Max

• Houdini

• Boujou

• Mocha

• Nuke

Hardware Requirement for VFX production

A proper workstation capable of handling the heavy workload of VFX and animation has to be custom assembled for best results.

The power of CPU processor, Graphics card, RAM/memory, fast performing NVME SSD Hard Disks, Large capacity internal Hard Disk with high RPM, large number of external Hard Disks for secondary backup, internal Cooling system all contribute towards building a high performing workstation capable of fast efficient rendering and export.

Budget and Time

There are many factors that influence the time needed for a VFX workflow. However, this can largely be determined by experience and level of artistic complexity within a project. A single frame can take anywhere from hours to thousands of hours.

The budget for a VFX film is usually measured in millions or tens of millions USD. It all depends on how many people are involved in your production and what type of work will be done. In the typical budget, you will likely have room for about 12-14 weeks total time spent working on fulls, a task which includes tracking and animation but is not inclusive of compositing or sound design.

Commercials often get VFX budgets up into the six digits, but even low-budget films might reach 3 figures…all dependent upon how it’s done – what you shoot it with – and who does it after production wrapped up (assuming you want to pay someone else). A simple video may have VFX in the range of $10,000 – $50,000 and takes 2-3 months to complete.

The goal of a complete VFX job is therefore to complete it as quickly as possible without sacrificing quality. The time and budget constraints can make it very challenging to find the right asset management system that is being used. Before you start performing cinematic effects in your projects, or even looking at them in a viewer, it’s useful to know how much time it will take. This can help a lot in understanding how your own workflow will work, and gives you the confidence to take on more challenging projects knowing that you have the resources required to complete them quickly.

Producers and Client Relationships

If your client expects you to provide a fixed price and there is no agreement on revisions or additions, you are setting yourself up for failure. Establishing mutual respect between the client and your team is critical, and establishing boundaries will assist in maintaining that respect.

That is why skilled post-production producers and supervisors are in such high demand.

They can manage clients, keep track of expenses, communicate changes to artists and roadblocks to clients, and generally keep projects on track and within budget.

Having one of the artists act as the producer can complicate matters, so include budget money for a producer/project manager into your workflow if possible.

Perfecting a shot or a scene may require additional hours, days, or weeks.

However, with the proper support, open lines of communication, and an astute producer keeping an eye on your back, VFX work does not have to be painful. It is possible to complete high-quality work on time and within budget.

However, it requires practice and experience.

The role of a VFX Supervisor

The VFX Supervisor must have lots of experience in successfully supervising and executing the complete VFX Workflow from start to finish. Consider what skills are needed to complete the most important tasks in your VFX pipeline. As a visual effects supervisor, you should be able to identify high priority tasks for your team that require specific training and tools. This way you can expedite development and completion times without hindering the creative flow.

The most successful VFX companies have certain principles of working efficiently. Everyone is expected to follow orders, but at the same time there is respect for the creative process. This doesn’t mean you don’t argue or disagree — the key is to communicate clearly so everyone can understand what is expected of them.

The Supervisor must also have a very sound technical knowledge of the software and hardware involved in the making of the VFX.

He/she must have a clear idea of the final visual look of the film at all stages and keep track of the entire process from start to finish.

The supervisor will coordinate the VFX artists, animators, composers, lighting designers, and all other departments involved with creating the visual effects in the film. This person needs to be aware of what responsibilities each individual member of the VFX team has, as well as what each person contributes towards making the final product as great as possible. A supervisor’s duties include the direct supervision and management of artists, animators, writers, and other personnel involved in the production of visual effects for all aspects of a film or television project and effectively coordinate with the rest of the film crew.

This person will be required to know the procedures and tools used in a practical sense over the course of production in order to achieve the best results. They may need to see various stages of the film beforehand, be in contact with various departments during production, stay up-to-date on new tools and techniques as they become available, and respond effectively to changes in deadlines and priorities as they arise. He/she must ensure that consistent deadlines are met for each project.

The VFX supervisor needs to have the creative vision and the directorial skill sets to elevate the art of VFX beyond just a technical showcase, and make it an integral part of the film.

The role of a VFX artist

The VFX artist is a critical part of any film or TV project. He or she creates all the effects: visual effects (VFX), composites, special effects and animatronic creatures (Horsehead) used to tell the story. The job of a VFX Artist is exceptionally rewarding, and many visual effects artists earn six-figure salaries. Some start at the low end, doing simple effects such as simple hair using a computer to manipulate a photo. Artists create a ton of visual elements during the VFX process. These elements can include nearly anything from character models, sets, props, and visual effects. Artists also create environments, storyboards, and other visual aids for films. Each member of the VFX team bring their unique skills and talents to the table along with their proprietary ideas on how things should look and function. The VFX artists have a lot of responsibility on their shoulders. Each day they must follow orders and work fast. They are constantly evaluating the pipeline they’re working within in order to make sure they are being efficient, but also ensuring that quality is being achieved.

Benefits of a VFX Pipeline

Creating visual effects is an inherently artistic act; artists all over the world sacrifice their time, money and sometimes their health in order to create work. However, the VFX pipeline can also be a critical lifeline for a film or TV show if it allows the creative team to move quickly between tasks. The Visual Effects Supervisor is typically responsible for overseeing all aspects of the VFX creation process, from conceptualization to completion.

The benefits associated with utilizing a VFX Pipeline extend well beyond the resources and expertise that are available within any one individual company. Through collaboration and integration, a VFX pipeline can be implemented at multiple points of production and efficiently utilized by both the directing agency and the production company. Through implementing development practices such as pre-vis, DITP, and shared tracking assets, VFX professionals are able to efficiently execute projects with a safety net in place.

Working on a VFX film can provide valuable experience and can offer talented individuals the opportunity to learn new skills and advance their careers. The creation of a VFX film represents an important milestone in a film‘s production, and it provides the opportunity to work with a talented group of people. The creation of the effects can often be as important as the content itself, so it’s important to remember that VFX is just one of many types of content created by companies across many different industries every day.

The pipeline for Visual Effects is critical for three primary reasons:

• It spares the film crew from witnessing the devastation caused by various ill-advised implementation attempts.

• Due to an organized approach and a disciplined, professional work culture, it reduces turnaround times.

• It ensures visual consistency throughout the organization. VFX artists contribute ideas and work on design specifications and asset templates that enable the final look and feel of the film to be designed and created.

The VFX pipeline workflow is a complex process. It’s important to get it right the first time with little room for error or mistakes. Working on this blog post has helped me better understand how I can use TD Film Studio’s knowledge to help my own business grow and succeed! TD Film Studio is a full full-fledged film production studio with an extensive VFX pipeline that allows us to produce anything from storyboards, pre-visualization and animatics up through well-organized professional services. Our talented team of artists and technical crew work together in harmony so we can provide you the best possible product at every stage of the process – from conception all the way to delivery. We’ve provided some information about our workflow above, but if you want more info or have any questions, feel free to contact us today!