What's in a Title?

An old friend from college asked me what the difference is between my former job (VFX Producer) and my current title (VFX Consultant). Well, the former title implies a steadier paycheck. As a consultant, I’m hired on an “as needed” basis. Sometimes this can mean stretches of unemployment while the studios are in full production mode and no scripts are on deck.

Despite the lack of steady income, the advantages for someone like me are many. I’m afforded regular work hours; gone are the 105-hours work weeks (which never paid overtime). Even though I loved going on locations for months at a time in my earlier career, it wreaked havoc on having a social life. It was very difficult to maintain friendships, and relationships proved even more challenging. Although you formed instant families with fellow crew and cast members, only a handful lasted through the years.

In my current life, I meet with directors in the very beginning stages of the filmmaking process. They’ve just landed a new job, are excited by the possibilities, and haven’t had their first fight with the studio rank over budgets, schedules, casting, etc. Sometimes the challenge lies in trying to give structure to creative visions that are still forming in the minds of the directors. But I love their enthusiasm at this stage. Some are open to suggestions and give everyone a “committee voice” in their creative process. George Miller works like a college professor--opening up dialogue to discuss everything with everyone. You are encouraged to voice your opinions and your suggestions aren’t limited to just your field of expertise. Other directors provide a clear vision of their film from day one. Jean-Pierre Jeunet sent very detailed storyboards to help me visualize the film he proposed to make. With painstaking detail, a shot-by-shot storyboard was photographed with maquettes, showing me a previsualized version of the movie on paper. The storyboards themselves were such works of art that I have kept them as a memento.

Pre-production can feel a bit more harried. The studios usually expect a more detailed budget although it’s still too early to have a solid idea of what the work will entail. Based on very loose knowledge, I break down the script and provide methodologies that I’ve discussed with the director and other department keys (Director of Photography, Production Designer, Visual Effects Supervisor, Costume Designer, Special Effects, Stunts, etc). I send out this VFX “blueprint” to prospective visual effects companies to bid the work. My overall budget incorporates an average of these bids, my best guess of the total scope of work, and a small contingency to cover potential pitfalls which always crop up during the production process. This is where previous producing experience proves invaluable.

It’s taken me a few years to recognize the other reason why I prefer this role over producing. During this early phase, there is a sense of open possibilities that inspires optimism. It’s the honeymoon phase. Once production starts, the compromises begin. The division between the business and creative sides become more evident. The challenge lies in helping the filmmakers achieve their desired visions -which at times grow grander during production and post production process- while remaining fiscally responsible to the studio. Sometimes it’s a daunting responsibility. Just ask anyone who has worked with Jim Cameron or Baz Luhrmann!

I know for some, this political balancing act is part of the stimulation. They thrive on being the diplomat whose capable contributions shepherd the films through the difficult political waters. I am not one of those people! I love being in the middle of a creative storm, not a political one. I’m much more comfortable figuring out a character’s motivation (“What are Superhero X’s true fears?”) over those of my colleagues and friends. So, perhaps it all comes down to this: Like Rodney King, I just want everyone to get along.

So there you have it. Why a woman gave up a good steady paycheck for the unstable world of consulting.