David Scott is a visual effects supervisor at London-based BlueBolt, an independent studio that provides VFX for television and film.

“It’s run by a great bunch of industry pros, a lot of whom I’d worked with before in previous companies, like MPC,” explains Scott. “What is nice about being in a smaller company is the scope of work you get to do and the types of films and projects you work on. Your involvement in it is much more than in bigger studios, where things are much more departmentalized. Plus, you get to know almost everyone in the company, which is definitely not the case in bigger ones.”

Let’s hear more from Scott…

What does the role of VFX supervisor entail?
My primary responsibility is to ensure that the director’s vision and expectations are brought to fruition. The process can start during preproduction, where we break down the script, discuss approach to shooting and identify where VFX may be required. Collaborating closely with the production team, we plan the shoot to capture the necessary elements for the shots.

Once the shoot concludes, my focus shifts to the post phase at BlueBolt. Here, we discuss the specific requirements for each shot and plan our approach. Throughout the VFX process, we maintain regular reviews with the director. Our involvement extends into the digital intermediate stage, ensuring our contribution until the final shot is graded and officially locked. It’s a comprehensive journey from initial concepts to final shots, with constant collaboration to achieve the desired look.

What would surprise people the most about what falls under that title?
The number of meetings and reviews each shot has before it’s presented as final.

How long have you been working in VFX, and in what kind of roles?
I have been working in VFX for 20 years. I’ve worked in different companies throughout my career, mainly in London but also for a number of years in New Zealand. I started in the rotoscoping department, moving into prep and then compositing. Within compositing, I’ve been a lead and a comp supervisor, and for the past three years I’ve been VFX supervising.

How has the VFX industry changed in the time you’ve been working? The good and the bad.
So many aspects have changed, but the first thing that comes to mind is that the scale and complexity of projects has grown massively throughout my career in VFX. Before, a 300-shot show would book out a whole facility, whereas now the larger VFX houses can handle multiple shows, each with thousands of shots.

The upside is that we’re tackling more ambitious projects, pushing the boundaries of what’s visually possible. However, the downside, is that timeframes haven’t kept pace with this expansion. The challenge lies in delivering high-quality work within the same, if not tighter, schedules.

Do you like being on-set for shots? What are the benefits?
There’s a unique energy and immediacy to the on-set environment. Being there allows for instant problem-solving, better collaboration with the production team and an intuitive understanding of the director’s vision. It’s all about soaking it up and ensuring the VFX fits seamlessly into the shots.

What do you see as a big trend that is happening now or maybe is on the verge of happening? Is it AI? If so, what are your thoughts on how it could be used for the good and not the bad in VFX?
Absolutely, AI and machine learning are undeniably making a significant impact on the world of VFX. While headline-grabbing applications like deepfakes and de-aging are understandably in the spotlight, the benefit of AI across the whole VFX workflow will bring massive gains.

As these technologies develop, there’s immense potential for efficiency enhancement, optimizing the day-to-day processes. When integrated thoughtfully, AI has the power to become a valuable ally, boosting productivity and increasing creativity in the VFX industry.

Did a particular film inspire you along this path in entertainment?
There are so many from my childhood, but the standout is Who Framed Roger Rabbit. I remember they promoted it with a lot of behind-the-scenes information about the technology and techniques used, which I found so fascinating.

Where do you find inspiration?
My inspiration comes from everywhere. Reference is key when tackling shots, so I enjoy delving into stock footage sites, exploring YouTube and referencing other movies.

What’s your favorite part of the job?
I love that every show comes with its own set of challenges to solve, both technical and creative. Working with so many talented people, sharing ideas and developing them together is my favorite part.

If you didn’t have this job, what would you be doing instead?
Definitely graphic design. I studied graphic design at college and worked doing that for four years before making the jump into VFX.

Can you name some recent work?
I’m currently working on Nosferatu. Previous work includes, The Northman, The Great (Season 3), Avengers: Endgame and James Bond’s No Time to Die.

What tools do you use day to day?
Most of my day is spent in RV reviewing shots and in ShotGrid for everything else show-related. And if I need to work on specific shots, I’ll use Nuke for compositing.

Finally, what do you do to de-stress from it all?
When I’m mid-project, I find it hard to fully switch off, so exercise becomes key to relieve the stress. And if I have free time, the weather is good and the stars align, then I’ll play some golf.