WOMEN I N VFX | FEATURE
LUCY KILLICK Job title: managing director
shots and a clear description of the digital components to put into those shots. The challenge of designing the sequence made it a much more creative experience for the team involved, and ultimately our crew rank it as one of the most enjoyable projects they worked on in 2019.” “My advice to women wanting to get into VFX is: the sky’s the limit. We have several examples at Framestore of people starting out as entry-level runners and working their way into senior management or senior creative positions. If you work hard and have the right attitude, you can go far in this industry.”
the other VFX work in the rest of the film, and our challenge was to create a sequence with stringent constraints on time and money. Added to that was the looseness of the brief! We quickly formed a strong collaboration with our clients, and they trusted us to design a sequence that was essentially briefed with a set of Post-it notes. “This made it an exciting project to work on; we had to come up with a lot of ideas and concepts from scratch with very little plate photography to base the sequence on. This was different to a traditional VFX project, where you are awarded a package of work with a list of
Lucy Killick started out as VFX coordinator in 1998, having previously worked for a live financial news television broadcaster. She fell in love with it and worked her way through the production ranks before finally becoming managing director of the film division at Framestore’s London office. Killick has worked her magic on many prestigious projects, including Avengers: Endgame , Spider-Man: Far From Home , Hobbs & Shaw , Lady and the Tramp , His Dark Materials and Wonder Woman 1984 . “For Spider-Man: Far From Home , we were awarded the illusion battle scene. It was a stand-alone section, quite different to
MARCH 2020 | DEF I N I T ION 43
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