A visualisation Supervisor is responsible for leading the creative direction of the development of films & episodic shows up to and beyond the shoot. They are the Pre-Production creative project lead and one of the key contacts with the show’s production designer, director, VFX supervisor and producers. We caught up with Cinesite’s Head of Visualisation, Richard Clarke, to find out more about his career path and what is involved in helping clients tell their stories and realise their visions.

WHY DID YOU DECIDE TO DEDICATE YOUR WORKING LIFE TO VFX?
I have had a love of cinema and science ever since I was very young, and VFX combines both of these. It’s always very fulfilling to see the before and after’s of a shot and how much we can contribute to the filmmaking business.

WHAT LED YOU TO WORK IN THE VISUALISATION AND ENTERTAINMENT INDUSTRY?

When I was young, I was obsessed with art and as I grew up this new world of CGI that appeared with movies like Lawnmower Man. This new burgeoning world of digital creativity drew me in.  I started creating my own digital art at home and then at college whilst studying photography. I was lucky enough to get onto the first ever degree course in computer visualisation which really set me on this path.

WHAT ARE YOUR DAY-TO-DAY TASKS AND HOW HANDS-ON ARE YOU WITH THE PROJECTS?

My day can vary depending on what the current focus may be. Sometimes, I will be focused on a show which includes shot reviews, dailies, debriefs and helping to find creative solutions. Outside of shows, I am often involved in sales & bidding to win new work. As the department utilises multiple workflows, depending on the type of project, I am working to make sure we are capable of tackling whatever comes our way.

WHAT IS YOUR FAVOURITE EXPERIENCE FROM ALL THE WORK YOU’VE DONE OR A PROJECT YOU’RE MOST PROUD OF? The project I am currently most proud of is Squid Game:The Challenge. This was a new type of show as Reality TV has never really used VFX before. Also, we were able to offer an End-To-End solution. What this means, is that we covered everything from shoot prep, previs, postvis and final pixel delivery. A lot of the work was covered by one core team in the NVIZ Vis department.

WHAT ASPECT OF THE JOB MAKES YOU GRIN FROM EAR TO EAR?

When everything starts to come together on a project. Often, it is hard to get a show into its groove, but there is always a point where everything has clicked into place and we start delivering work that at the start seemed tough or even impossible.

WHAT CHANGES HAVE YOU OBSERVED IN YOUR FIELD OVER THE YEARS?

A few things come to mind. Firstly, how capable our day-to-day software has become. We can build massive shots and environments with much more ease than before and the endless possibilities from the latest procedural toolsets are mind-blowing. Secondly, it is amazing how capable some of the latest generation of graduates are. 

YOU ARE HEADING THE VISUALISATION DEPARTMENT WITHIN CINESITE. HOW DOES VISUALISATION HELP STORYTELLERS BRING THEIR VISIONS TO LIFE?

For years, visualisation has been a key tool for exploring how to tell a story or how to plan a shoot. It has become an integral part of the process and many directors and clients won’t work on a project without some level visualisation

WHY DO YOU THINK VISUALISATION SERVICES HAVE BECOME AN INCREASINGLY IMPORTANT PART OF THE CREATIVE PROCESS FOR THOSE WORKING ACROSS FILM & EPISODIC?

As the technology improves we can deliver work that looks closer to the end product. This helps the filmmakers make more informed decisions. With higher quality output we can now deliver Vis shots that can be used to better judge an edit and be used in screenings. The upfront spend on Visualisation can save a huge amount of costs later down the line.

WHAT’S YOUR FAVOURITE CREATIVE OUTLET?

Photography is my favourite outlet because it is so immediate and accessible. It’s possible to take or create a great photo everyday. Plus, it is great if you can take a cool photo of family and friends that is also a memory of a great time or experience.

WHICH FICTIONAL CHARACTER YOU’D SHARE A PINT WITH?

Sam Loudermilk (from the TV show Loudermilk) I just love how he points out how crazy humans can be with their day-to-day antics.  I think the character is basically a bit Basil Fawlty, but with some actual depth to his thinking rather than being a hapless idiot.

ARE YOU DOING ANYTHING AT THE MOMENT TO GROW AND DEVELOP YOUR SKILLS?

When I get the chance to do some training, I like to experiment with visual programming. I always wanted to be able to create tools and plugins and to be able to work in a more procedural way. Visual programming gives me the best of both worlds and keeps me learning new things which I think is really important.

WHAT’S ONE THING THAT IS ALWAYS ON YOUR DESK WHEN YOU WORK?

A plant. I really love the outdoors, especially being in the countryside. I find plants have a soothing effect on me, especially when we are surrounded by so much technology.

FINISH THIS SENTENCE: CINESITE IS…

An awesome place to work. The company has so many amazing people and on top of that, it has a great legacy within the film industry as it was one of the very first.