Short for temporary composite — standard in editorial to visualize VFX shots before final render. Speeds up feedback loops.
In the edit suite, one constantly works with shots that are not yet finished. VFX sequences are available as rough versions, color grading is missing, sound is a placeholder — and yet the editing decision must be made. This is where the Temp Comp comes into play: a quick, provisional composition of a shot that offers enough visual information to function in the rough cut without having to wait for the final render.
In practice, this happens as follows: The VFX supervisor or senior compositor creates a comp version from the existing elements — composited layers, preliminary color corrects, placeholder animation — that is temporally synchronized with the edit and appears spatially plausible. This is not the final, high-resolution render. It is a working version, often in reduced resolution (1K instead of 4K), with optimized effects that can be exported quickly. After Effects or Nuke are typically used for this — fast workflows, not every detail calibrated.
The advantage lies in the feedback loops. The editor can immediately see if the composition fits temporally, if the cut makes sense at this point, if the VFX action carries the emotion of the moment. The director doesn't sit in the render farm's waiting queue. The Temp Comp is discussed in the assembly cut, changes are made — and only when the editing decisions are finalized is the final, high-resolution render commissioned. This saves enormous render time and thus costs.
Important: Temp Comps are explicitly provisional. They are not intended for DCP or distribution. Sometimes on set, a Temp Comp lives too long by accident — it is archived, later confused with the final — which is why it should be clearly labeled. In workflows with VFX teams, it is standard to flag Temp Comps as separate render queues: low priority, separate directory, time-bound ("Valid until..."). This keeps it clear what is working material and what is not.