THE V I SUAL I SERS | FEATURE
Most of our guys come from an animation background; rarely do they come specifically from a VFX background as you might assume
as helping solve technical problems as to how complex sequences or single shots are going to be captured on the day and in CG. “We provide an essential sandbox of tools which allows those department heads to play and make creative decisions in a highly inexpensive, disposable way. This allows them to iterate, change, to consider different options in a way that is ultimately throwaway, meaning that you are making those decisions before you get into the really expensive part of the process, which is on-set and in a VFX pipeline.” A call will go out to The Third Floor from a director, VFX supervisor or producer early in the process of making a film, when they’ve got a script and
art department, scripts, storyboarders and the live action and VFX teams. “Paradoxically we work underneath visual effect supervisors but most of our work is with the production team,” says Webster. “We work closely with DOPs, directors, art directors, production designers and stunt coordinators to inform the creative choices around shot composition, editorial structure and camera language as well
“We’re now a team of about 100 people and our core business is with the major studios – Disney, Warners, Marvel, Lucas Films – as well as doing a lot more work now with the likes of Netflix and Amazon on the streaming platforms.” BRIDGING ROLE The Third Floor sits somewhere between traditional pre-production, early concepts,
IMAGES A finished scene from the Beyond The Wall episode in Season 7 of Game Of Thrones; and a virtual camera in the previs (right)
JANUARY 2020 | DEF I N I T ION 55
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