I really enjoy the Horror and Sci-fi genres, especially when they come together to create something magical. The Order had a lot of effects on a very small budget, but instead of looking at it like a negative we came together to embrace practical effects and I very much welcomed the help from the Art, SPFX and MUFX departments.

Instead of relying heavily on CGI we would approach the show with either a practical approach or layering elements wherever possible.

When the Magic Book concept arose in pre-production, my first question was: “Does this even need VFX?” Instead of relying solely on CGI, we brought it to life by:

– Physically binding loose pages and strings to form the book’s structure.
– Filming in reverse to make the pages and threads “assemble” themselves magically on screen.

Some of my most rewarding projects have been lower-budget endeavors. They come with their own unique challenges; like the pressure to deliver high-quality results under tight constraints. But those limitations often spark unexpected innovation and collaboration if you approach it differently. There are a few things that helped us increase our chances for success on the show.

Weekly VFX Memos

We were so reliant on other departments in production that we incorporated a weekly VFX memo. This helped make sure we would arrive on set with the materials needed each day. You might ask for a green screen in pre production for the scene shooting on Day 8 only to arrive a month later without one.

Gag meetings

After the initial production meetings we would put together a list of “Gags” for each episode. Then we would have a meeting with the Showrunner, Writers, Director, Director of Photography, Special Effects, Makeup Effects and VFX. This would help us get down to the requirements from the writing team and director and what we had at our disposal to achieve it. Most of the time this would engage each department to work together and at the end of the show everyone had a sense of satisfaction on what they were able to do onset.

Comprehensive On-set data

Working on productions where crucial reference material was missing has taught me to prioritize capturing as much data as possible during filming. Everything from Camera data, witness cams, texture reference and HDRIs, because once a set wraps it’s all gone forever. Tools like the Ricoh Theta Z for quick hdr captures and Setelite for data logging have been invaluable for gathering this data without disrupting the shoots momentum.

Element shoot day

Securing a dedicated splinter unit to film critical elements was a challenge, but it became essential for the project. To stay organized, our coordinator carefully reviewed daily footage, pulling reference frames to guide the unit’s work. Through teamwork and smart planning, we found a way to film everything on the final shoot day.

I was drawn to Supervision on set because I wanted better data to work with in post, but I’m finding myself returning because I enjoy collaborative aspects of working with the crew and the challenge of bringing the ideas from the script to life.