Greetings, fellow Martians! If you’re venturing into the world of VFX and want a peek under the hood of the magic machine that makes it all happen, you’re in the right place. Consider this your roadmap—because knowing the steps in the process is key to not getting lost in the chaos.
So, buckle up, and let’s dive in!
Oh, and because I believe in rewarding curiosity, I’ve left some surprises for you at the bottom of this article. Enjoy!
BE FLEXIBLE! Every project will be different. They may have a different workflow, but the ideas should be identical. The point of this post is to give you a bird’s eye view of everything.
VFX PRODUCER vs VFX SUPERVISOR
A VFX Producer is the mastermind behind the logistics of visual effects, working closely with the VFX Supervisor to keep everything running smoothly. Think of them as the project’s air traffic controller—making sure everything lands on time, on budget, and without any catastrophic crashes.
On the financial side, the VFX Producer tracks expenses, allocates resources, and ensures the director’s vision doesn’t spiral into a black hole of overspending. Meanwhile, the VFX Supervisor leads the artistic and technical teams, transforming creative concepts into stunning on-screen visuals.
Of course, budgets and creative dreams don’t always see eye to eye. When a director asks for something that’s pushing the limits—say, a city-destroying monster with a budget fit for a sock puppet—the VFX Producer steps in to find a realistic solution. Whether it’s adjusting the approach, reallocating funds, or negotiating for more resources, they help balance ambition with reality.
At the end of the day, the VFX Producer and VFX Supervisor are a power duo, blending creativity and strategy to bring breathtaking visuals to life—without sending the budget into orbit.
BEFORE THE SHOOT
PRE-PRODUCTION
Before cameras roll, the VFX Producer teams up with the director and creative team to map out the visual effects strategy. This is where ideas get real—script pages turn into shot lists, and storyboards reveal the scale of what’s to come.
The VFX Producer carefully breaks down the script, identifying which effects will need practical solutions, which require digital wizardry (okay, last magic reference—promise), and how to make it all work within the budget. They estimate the resources needed, assemble the right artists for the job, and make sure the production is equipped with the right tools—whether it’s cutting-edge software or enough processing power to handle complex simulations.
Enter the VFX Supervisor. Once the creative vision is set, they step in to oversee the execution, ensuring the effects are achievable and aligned with the director’s goals. Together, the VFX Producer and VFX Supervisor form a powerhouse team—one handling logistics, the other leading the artistic and technical charge—both working to bring mind-blowing visuals to the screen without breaking the bank.
ON-SET PRODUCTION
The work of a VFX Producer and VFX Supervisor doesn’t stop once pre-production wraps. As the cameras roll, their roles become even more critical in ensuring the visual effects plan stays on track.
The VFX Supervisor is on set, making sure everything needed for post-production is captured correctly—tracking camera data, supervising green screen shots, and ensuring actors interact with effects elements properly. They act as the bridge between production and the VFX team, solving problems in real-time and advocating for what the artists will need later.
Meanwhile, the VFX Producer keeps a close watch on the bigger picture. They track changes, assess the impact of last-minute creative decisions, and warn the production team about anything that could cause delays, budget overruns, or headaches in post. If a director suddenly decides to add a last-minute CG creature, for example, the VFX Producer is the one calculating whether that’s a simple addition or a budget-breaking nightmare.
Strong communication between the VFX Producer and Supervisor is key—they stay in constant contact, ensuring that the visual effects process runs smoothly from set to final delivery. Together, they help steer production in the right direction, balancing creativity, logistics, and costs to bring the director’s vision to life without post-production surprises.
AFTER THE SHOOT
POST-PRODUCTION
Once the cameras stop rolling, the real work for the VFX team begins. At this stage, the VFX Producer shifts into high gear, ensuring that creativity and deadlines stay in sync.
With a sharp eye on the schedule, the VFX Producer keeps everything moving efficiently—tracking progress, managing resources, and making sure no shot gets lost in a black hole of endless revisions. They act as the vital link between the director and the VFX artists, ensuring that creative feedback is clear, actionable, and doesn’t derail the timeline (or the budget).
Balancing expectations is key. The VFX Producer must be both firm and flexible—advocating for realistic deadlines while remaining open to creative problem-solving. They know when to push back on unrealistic demands and when to find smart compromises that keep everyone happy.
At its core, this role is about coordination, communication, and keeping the entire team aligned. A great VFX Producer isn’t just managing a project—they’re fostering collaboration, maintaining trust, and ensuring that when the final cut is delivered, it’s nothing short of spectacular.
HELPFUL TIPS
FOR SUCCESS
Behold, the sacred scroll of wisdom! Within its sacred passages lie the secrets to unlock success and harmony in the realm of visual effects. Let us delve into its profound teachings, embracing the enchanting reminders that shall pave the way for triumph.
001
ESTABLISH GROUND RULES DURING PRE-PRODUCTION
Before diving into production, clarity is everything. A successful VFX Producer ensures that expectations, timelines, and creative visions are locked in early to avoid unnecessary revisions, wasted time, and unexpected costs.
Start by getting everyone on the same page—director, producers, and clients. Review the script, storyboard, and any reference materials (props, mood boards, test animations, grading references). These assets shape the project’s direction and help the VFX team anticipate challenges before they arise.
A crucial step? Creating an animatic from the storyboard. This pre-visualization tool helps define shot timing, framing, and camera movements, giving the director and client a clear preview of the final product. No animatic approval? No green light. Rushing into VFX without a locked edit is a recipe for budget overruns and frustration. CG-heavy projects, in particular, demand a structured pipeline—once a model is rigged and animated, going back to tweak fundamental elements can be costly and time-consuming.
Even if your client is familiar with CG workflows, remind them that VFX follows a specific order: modeling → rigging → animation → look development → lighting → rendering → compositing. Once you move forward in this process, stepping back isn’t always an option—at least not without additional costs and delays. Setting clear expectations upfront helps avoid mid-project surprises and keeps production on track.
Pre-production timelines can vary from a week to a month (or more) depending on the project’s scope. But one rule remains constant: nothing moves forward until budgets are approved and the final delivery date is locked in.
002
DON'T FIX IT IN POST!
Planning is king in the world of VFX. A proactive, detail-oriented approach ensures smoother workflows, more realistic visuals, and, most importantly, a budget that doesn’t spiral into the abyss.
Get it right on set. The more you capture correctly during production, the less you’ll need to fix later—saving time, money, and the sanity of your post team. Unwanted objects, stray cables, and yes, even rogue coffee cups (Game of Thrones, we haven’t forgotten) should be spotted and removed before the cameras roll. A little extra vigilance on set prevents major headaches in post.
For more complex VFX work, on-set reference photography is essential. Even a phone camera can capture crucial details like set textures, lighting conditions, and environmental elements—everything from sky and landscape details to the texture of walls and ground surfaces. These references help ensure set extensions, matte paintings, and CG elements blend seamlessly with real footage.
And let’s talk tracking markers—those little green dots are a lifesaver in post, but removing them cleanly starts before you slap them everywhere. Photograph the scene before placing markers to ensure clean reference images for removal later.
Other on-set musts:
✔ Check for unwanted shadows. A lurking boom operator’s silhouette is not part of the story.
✔ Mind reflections. Mirrors and windows love to expose what’s really happening behind the camera.
✔ Continuity is everything. Take photos of every shot to track actor wardrobe, prop placement, and set details. What looks fine in the moment can cause chaos in the edit.
The bottom line? VFX should enhance your project, not rescue it. A well-planned shoot means a smoother post-production process, a more polished final product, and a budget that stays intact.
003
CHOOSE THE BEST ON-SET SUPERVISOR FOR THE PROJECT
Having an experienced visual effects artist on set is one of the best investments you can make. Whether you’re capturing a single VFX shot or dozens, the presence of a knowledgeable on-set supervisor helps ensure you’re collecting everything you need—correctly and efficiently—while avoiding expensive mistakes down the line.
A great on-set supervisor acts as a technical and creative ally to the VFX Producer. With a sharp eye and deep understanding of the entire VFX pipeline, they ensure that each shot aligns with what’s needed for a smooth post-production handoff. From confirming lens data and lighting references to capturing clean plates and checking tracking markers, their oversight is invaluable—especially as the shot count rises and complexity increases.
And here’s a pro tip: The ideal on-set supervisor is often the same artist (or someone from the post team) who will be working on the shots later. Why? Because they’re already invested. They understand the project’s needs, know the limitations and capabilities of the team, and have a vested interest in making sure things are done right the first time.
They also help bridge the gap between production and post—translating creative direction into technical execution, flagging issues early, and offering practical suggestions in real-time. Their presence ensures continuity and opens the door for creative collaboration between the director, producer, and VFX team.
Whether they’re on set for a few key hours or the entire shoot, a skilled on-set supervisor is not a luxury—they’re a necessity. Their insight can prevent costly reshoots, reduce confusion in post, and help bring the director’s vision to life with fewer headaches for everyone involved.
004
HAVE THE RIGHT BLEND OF ARTISTS
Choosing the right mix of VFX artists—and knowing how to divide the work—is crucial to any project’s success. The project’s timeline, complexity, and budget will determine whether you need a team of specialists, a few versatile generalists, or a bit of both.
For long-term projects with generous timelines, it makes sense to bring in specialists. Each discipline—concept art, modeling, rigging, animation, look dev, texturing, and so on—gets handled by someone focused and highly skilled in that area. The result is a well-orchestrated pipeline where everyone plays to their strengths.
For faster turnarounds or leaner budgets, generalists are your best bet. A solid 3D generalist can tackle multiple stages of the pipeline, reducing handoffs and streamlining the process. Specialists are still brought in for highly technical or demanding tasks—like simulations or complex rigging—but efficiency takes the lead.
The tighter the deadline and the more complicated the shots, the more experience matters. Senior artists can navigate complexity with speed and confidence, making them indispensable on high-pressure projects. On longer productions, junior artists can be introduced under the mentorship of leads—learning as they contribute and growing into future rockstars.
There’s no universal formula for how many artists you’ll need—it all comes down to the scope of the work and the timeline. The VFX Producer and VFX Supervisor work closely together to review the creative notes, assess the schedule, and match artists with tasks based on their strengths.
And finally, let’s not overlook the value of junior artists. Every senior was once a beginner, and supporting newer talent is how we build stronger, more resilient teams. A respectful, collaborative environment helps everyone do their best work—and leads to better results across the board.
005
COMMUNICATION!!!
“Time is money and money is time!”
If there’s one golden rule in visual effects, it’s this: communication is everything. It’s the glue that holds together tight schedules, shifting priorities, and teams spread across time zones.
Stay aware. Visual effects is a fast-moving, ever-evolving process. Things can change overnight—between shoots, between versions, between lunch and coffee breaks. Keep an eye on your line tests (early animation and comp passes) as they’re a great indicator of how things are shaping up and where attention is needed. They’re not just works in progress—they’re your project’s pulse.
Even in a world driven by tech, don’t underestimate the value of human interaction. Production-tracking systems are great tools, but they’re no substitute for regular, real conversations. VFX Producers should stay in close contact with Supervisors and team leads—checking in on progress, upcoming tasks, and any blockers before they turn into full-blown issues.
Watch for warning signs:
Shots bouncing between stakeholders without a clear decision
Artists redoing the same task with conflicting direction
Friction between the agency, director, client, or vendor
When things start to feel off, hit pause and realign. Don’t be afraid to gather everyone (virtually or in person) and get all creative minds in the same room. A single clear conversation can save days—or even weeks—of wasted effort.
And if there’s a deadlock? Stand firm until consensus or final approval is reached. Churning out multiple versions based on contradicting feedback is a fast track to burnout and blown budgets. Clarity beats chaos every time.
At the end of the day, good communication protects the timeline, the budget, and the morale of your team. Be proactive, stay connected, and don’t be afraid to speak up when things start to drift.
006
Hunt Down—and Hold Onto—the Right Information
Once the shoot wraps, your work is far from over. Now comes the all-important task of collecting the data that will guide the VFX team through post-production. The quality of your results often depends on the quality of the information you carry forward.
Start with the EDL (Edit Decision List)—this is your roadmap. It contains the specifics of what footage was used, how it was cut, and what versions or transcodes are linked to the timeline. It’s essential for syncing the edit with visual effects and ensuring that the right plates and shots are delivered for work. Without a reliable EDL, you’re basically trying to navigate post with a half-finished map.
Next, the camera report. This document lists which lenses and settings were used for each shot—crucial details when it comes to replicating real-world camera behavior in a 3D environment. Matching lighting, depth, and perspective requires knowing exactly how the original footage was captured.
While some production systems can generate basic metadata, those reports aren’t always complete. That’s why it’s still best practice for the VFX Supervisor to manually gather key information on set—especially for complex or effects-heavy shots. Things like focal length, camera height, tilt, and sensor type might seem small, but they make a massive difference in post.
Don’t forget the shooting report, either—it provides essential context on what happened during each shoot day, which takes were preferred, and any surprises that could affect post (missing takes, camera issues, weather inconsistencies, etc.).
Collect these artifacts like they’re gold. They’ll help your team create seamless, realistic effects that blend naturally with the live-action footage—and they’ll save you a world of guesswork down the road.
Usually the DOP will set up the file naming of clip in the camera – just write that clip name down.
00;00;00;00 and Frames (if possible)
What scene does it relates to? Just a brief description.
Feet, Inches, cm. Best to measure from the ground to the sensor of the camera.
Did the DOP use any special filters on the lens? Pro Mist, Polarizer, ND? What stop ND?
Self explanatory.
Grab your protractor, bubble level, sun dial, or whatever you need to determine the angle of the camera. These new fancy cameras have built in levels so taking a picture of the monitor saves a lot of time and you can get out of the way of everyone quicker.
Your VFX artist will love you and takes away the guess work.
What is the camera focusing on? Static, Rack?
While larger productions often rely on online production-tracking systems to generate VFX shot lists, smaller projects don’t always need complex tools. In many cases, a well-organized spreadsheet—with thumbnail images and essential shot details—can do the trick.
Regardless of the format, someone needs to take responsibility for creating and maintaining the VFX shot list. This list serves as the master reference for the team, containing creative notes, technical specs, and timecodes tied to the edit.
A good VFX shot list should include:
Well diving into this deeper in a bit.
a frame from the edit
I said what I said.
based on the edit
00:00:00:00 IN
00:00:00:00 OUT
FRAAAMMMMES!
What we doing here!?
e.g., green screen, CG element, set extension
Who’s doing this!?
e.g., Not Started, In Progress, Needs Review, Approved
Creative direction, client comments, etc.
This shot list becomes the VFX team’s to-do list, communication tool, and sanity-saver all rolled into one. Whether you’re using a shared Google Sheet or a professional database, clarity and consistency are key.
007
A SYSTEM FOR REVIEWING DAILIES
In post-production, where visual effects take shape and the director’s vision starts coming to life, regular reviews are essential. To keep everyone aligned and the work moving forward, most VFX teams rely on something called dailies—a daily or weekly showcase of updated shots, where feedback flows and creative decisions are made.
Dailies allow directors and stakeholders to view the latest work-in-progress and provide notes in context. To facilitate this, a range of secure web-based review platforms are available, offering remote access for teams spread across the globe. Popular tools include:
Each has its strengths, and your choice should reflect your team’s needs, workflow, and budget. For most productions, Frame.io tends to hit the sweet spot in terms of affordability and ease of use – hell, that’s what I use (not sponsored, but my body is willing and ready:).
Even for smaller teams or indie productions, you don’t need a complex system to get the job done. A shared Google Sheet can serve as a basic review log, tracking progress, approvals, and notes—especially when paired with a cloud-based folder of render previews or review files.
In your case, you already have a network that your team uses to access footage, assets, and final outputs—which is a great foundation. Consider pairing that with a structured review platform (like Frame.io) to centralize feedback and reduce the risk of miscommunication or missed notes.
At the end of the day, a solid review system not only keeps the director in the loop but also strengthens your team’s creative workflow. It’s your feedback bridge—make sure it’s sturdy, accessible, and easy to navigate.
008
EDIT HANDLES
Edit handles might seem like an afterthought, but they can be the unsung heroes of a smooth VFX workflow. These are the extra frames added before and after the visible part of a shot in the edit—frames that often become essential when it’s time for tracking, rotoscoping, cleanup, or any other visual effects work that extends beyond the cut.
The right length of handles depends on the complexity of the effect:
For simple tasks like color adjustments or minor touch-ups, 20–25 frames on either side is usually more than enough.
For complex VFX work—like set extensions, simulations, or heavy comp work—you might be grateful for even 5 extra frames.
The key is to match the handle length to the nature of the shot. Too few frames, and you’ll find yourself scrambling. Too many, and you’re unnecessarily increasing storage, render times, and data management overhead.
But here’s the part many productions miss: communicate handle lengths clearly. Make sure the director, editor, and post team are all aligned on how much trim each shot has—and which shots have limited (or no) wiggle room. This heads off confusion during the edit and ensures everyone knows what you’re working with.
Edit handles are like insurance: you hope you won’t need them, but when you do, you’ll be glad they’re there.
You might have more than one vendor working for you. Make sure you track which shots go to which vendor. Most of the time it’s the MGH Logo 
You are responsible for creating a shotID. A regularly used naming system is to come up with 2-letter abbreviations for all the VFX sequences in the film, and then starting from 0010, name all your shots in increments of 10. So if your sequence is called “Eye Replacement”, you would start out with shots IDed as ER0010, ER0020, ER0030, etc. This pattern is easy to communicate verbally, easy to type (no need to hit shift for an underscore separator, e.g.) and allows you to maintain a rough chronological order if you need to insert a new shot after an existing one. It is also not dependent on the scene number where a VFX shot is located, which some people like to include as part of the Shot ID, but which I think is an irrelevant piece of information for VFX purposes.
What version is going out to the editor? Or for review?
This can be either the duration in cut, the total duration turned over for work, or both. Whatever’s more useful for you.
Handles refer to extra frames you’re asking the vendor to include beyond just what’s currently in the cut. Commonly, you’ll receive a shot back and want to add a few frames to the head or tail. If you only turned over the footage in your cut at the time, you wouldn’t be able to trim the shot. But if you have 8-frame handles, for example, that’s 16 extra frames you’ll get back that you can use in the cut if you need to.
This is where you tell your VFX vendor what you want them to do (and hope they read it). Even if it’s pronounced, do they need to key out the greenscreen and add laser beams coming from a cat’s eyes from frames 39-47? If so, write it down in the description.
Keep your list of what shots are In Progress, On Hold, Omitted, Final, and CBB (meaning “could be better”). Don’t rely on your vendor’s list, but do crosscheck your list with your vendors at regular intervals to be sure you’re on the same page with what work is left to do.
Knowing the date you turned a shot over to be worked on is useful. If you name your turnover batches, note that down too.
When you’re nearing the end of your film or project, you will want to check that the vendor delivered the correct version of each shot. Keeping a record in your database of what version was finalized and when will allow you to make sure you’ve got the correct files in your DI. If you find that your vendor has delivered a newer version of a shot than what you noted down, be sure to ask them about it. It might just be a tech fix (something small they noticed and fixed without needing client review), but best to be sure.
I know this bothers video assistants, but I am very strict with this rule. It saved me several times on jobs! When clients modify the file’s name, you will always know what version of a shot you are looking at, and there will be no possible confusion.
009
Be Obsessively Organized with Your File Names
(Yes, your future self will thank you—and so will your editor.)
Whether you’re the sole VFX facility or part of a larger team, organization isn’t optional—it’s survival. One of the most powerful tools at your disposal? A solid, consistent file-naming convention. It may seem small, but it will save you from version chaos, overwritten files, and mysterious renders labeled only as “final_final_v2_reallyFINAL.mov.”
When clients (or teammates) rename files arbitrarily, things get messy fast. That’s why it’s so important to stick to a clear, standardized naming system across the entire production. It eliminates ambiguity, keeps your team aligned, and ensures you always know exactly what you’re looking at—no guessing, no assumptions.
Here’s a practical naming convention that’s worked wonders:
(CLIENT)_(PROJECT-NAME)_(DURATION–FRAMES)_(SHOT-ID)_(VERSION)_(DATE:YYYY-MM-DD)_(USER)
Example:MGH_PROJECTNAME_300_0100_v03_2025-04-02_Marsgohome
Each element tells you something important:
CLIENT: Who it’s for
PROJECT-NAME: Self-explanatory
DURATION–FRAMES: Total number of frames in the shot
SHOT-ID: A unique number or code identifying the shot
VERSION: The current iteration (never skip a number!)
DATE: In the always-clear
YYYY-MM-DDformatUSER: Who created or updated it
But don’t stop there. When rendering out shots, include a slate or burn-in with key information at the start of the clip or embedded as text on a frame. This is especially helpful in reviews and version tracking. Here’s what to include:
Shot ID
Version Number
Date
Artist/User Name
Even if you’re using Frame.io or a production-tracking system, burned-in data helps eliminate confusion—especially when shots are shared outside your team or downloaded locally.
Remember: clarity beats cleverness in file naming. Keep it simple, consistent, and universally understandable. It might feel tedious, but it’s one of the easiest ways to keep your project (and your sanity) intact.
010
VFX SHOT NUMBERS
Shot numbering might seem like a minor detail, but in a world where files, feedback, and deliverables are flying in from every direction, a structured system is everything.
A tried-and-true method? Increment shot numbers by tens. This simple approach allows you to insert new shots into your sequence without breaking the entire system. For example:
0010, 0020, 0030, 0040, 0050…
Now, let’s say you need to add a shot between 0040 and 0050. Just label it 0045. Need to squeeze another in between 0045 and 0050? 0048 has your back. It’s flexible, clean, and keeps your team from going down a renaming rabbit hole every time something changes (which, let’s be honest, happens a lot).
But shot numbers are just the beginning. Behind every number is a story—and that’s where good record-keeping comes in. Keep a well-maintained shot log that tracks:
Shot Number: The unique ID of the shot
Shot Description: A short explanation of what’s happening in the shot
Assigned Artist: Who’s responsible for it
Status: Not started, in progress, needs review, approved, etc.
Notes: Client feedback, technical details, or any quirks the team should know
This log can live in a spreadsheet, a database, or a production-tracking tool—whatever works best for your workflow. What matters most is that it’s up to date and accessible to your team.
A consistent shot numbering system paired with thoughtful record-keeping ensures nothing falls through the cracks, even when things get hectic. And when clients ask for last-minute changes (they always do), you’ll be ready—with clarity, not chaos.
MGH PROJECT MANAGEMENT
VFX Tracking sheet
To make life somewhat easier, I’ve created a simple Google Sheet that has the very basics of tracking for you to use.
VFX SIMPLE TRACKING GOOGLE SHEET
- VFX Tracker and Project Management Google Sheet for tracking jobs.
- Perfect for a team or a solo freelancer.
Name Your Own Price 🙂
For information on how to install, please visit our Knowledge Base Documentation.
VFX Tracker – Pro
- Detailed VFX Management Tracker
- ideal for small and medium productions.
- After Effects Slate Template
- Dynamic CSV Sheet to AE Slate
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