BY ROBERT GOLDRICH
Cinematographers and VFX artisans are fashioning strong working relationships, according to panelists at a Visual Effects Society (VES) Summit session held this past Saturday (10/28) in Los Angeles. Paul Cameron, ASC, noted, for example, that he’s enjoying a strong collaborative bond with VFX supervisor Gary Brozenich on Pirates of the Caribbean: Dead Men Tell No Tales, a 2017 release for which the DP has been working on DI over the last couple of weeks.
Panelist Larry Fong, ASC, known for assorted projects including his lensing of features for director Zack Snyder (300, Watchmen, Batman v. Superman: Dawn of Justice), noted that his modus operandi generally is to work “every day” with the visual effects supervisor. “I try to befriend all the visual effects guys as much as possible,” said Fong, acknowledging their importance in helping to realize the look of a film as envisioned by the director and DP. Fong added that on movies he probably spends more time with VFX talent than with the director.
Panelist Wally Pfister, ASC, an Oscar-winning cinematographer for Inception, has since made a successful transition to directing in features (the 2014 release Transcendence), TV (episodes of Flaked and The Tick) and assorted commercials. His directorial roost for spots and branded content is production house RESET. On the spotmaking front, Pfister noted that he has formed a strong bond with visual effects house The Mill, particularly with VFX supervisor Gavin Wellsman who’s in that company’s New York studio. Pfister said of Wellsman, “He’s key to my process...integral from pre-pro through the end.” Pfister said that he brings Wellsman in as early as the bidding process, coming up with methodologies and technologies best suited for specific projects.