Bridge between set and VFX facility — monitors green screen, matchmove data, camera specs. Plans what can be integrated in post.
On set, the Visual Effects Supervisor sits between the director and the camera — and this is not meant metaphorically. They are the one who is already thinking about the edit during filming, because they know that every decision made in front of the camera can shorten or lengthen the work at the VFX house by weeks. Their main task is to secure the technical requirements of visual effects in real-time while simultaneously protecting the creative vision of the film.
Specifically, this means: the Visual Effects Supervisor takes responsibility for green screen quality, lighting, and depth of field for all shots that will later be composited. They document camera parameters — focal length, aperture, focus distances — and ensure that calibration shots are taken, which the VFX house will later need for reconstructing camera moves and virtual objects. For matchmove shots (camera with real markers or tracking aids), they ensure that the markers are visible but not distracting, and that the camera movements are captured sufficiently. They check live footage against digital pre-visuals and immediately communicate deviations to the director — not to block, but to offer options. "Can we hold this angle?" instead of "This won't work."
An underestimated part of their work is documenting set details for 3D reconstruction: light direction, object placement, reflections, shadow quality. This information goes into the VFX briefing and later saves hours in the digital environment. On action-heavy sets or during large green screen scenes, the Visual Effects Supervisor works closely with the video assist and often with a second cinematographer to secure reference footage in parallel.
This makes them the interface that prevents misunderstandings between the set and the VFX house. Does the director want a specific composition? The Visual Effects Supervisor checks if it's feasible and what it will cost. Does the colorist need consistent light values? The Visual Effects Supervisor documents them. Does the producer ask if they can save money? The Visual Effects Supervisor knows which shortcuts work in the composite and which don't.