I was the Post Supervisor and sole VFX artist on this eight-minute b2b showreel for the Fortune 500 company Air Products. The crew shot in six cities around the world, in the US, China, India and Saudi Arabia. The footage was shot on Alexa and multiple drone formats, and we delivered the final video to the client in UHD.

I had been traveling, and I got the request to start on VFX when I was still in Boston Logan Airport. I set to work immediately, downloading footage and assets over the airport's wifi (still surprised that it was possible!) and dug in on VFX samples. I continued that work over a process that lasted about three weeks. While coordinating with the editor and director, I worked intensively on a graphical transition from scene to scene using "energy streamers" as a visual transition device. (The client company produces energy-efficient technologies.)

For the first few days I worked remotely on the VFX, but was asked to come to the production company's office in Weehawken, NJ in order to serve as Post Supervisor as well. We moved fast--editing was still going on because the client needed extra time to decide multiple things due to their internal constraints. When I came on, the editor (working remotely from overseas) was mostly finished but there were still more changes coming in from the clients. The role expanded as I was asked to perform extensive VFX work on about 20 additional shots.

The client ultimately decided not to use the "energy streamers" device for scene transitions, but they did use all of the rest of my VFX work, amounting to nine shots with major fixes and about a dozen with minor fixes--removing or mitigating dirt that was on one of the drone cameras' sensors. I did all VFX work in After Effects. There was some graphics work (text) done by the editor in Premiere which we kept.

Coordinating with the editor (who was working remotely overseas) I performed Online Editor work, uprezzing the project and sending it to the colorist, then creating the needed files for our audio engineer/mixer. During this process changes were made to the edit after what we thought was picture lock. This happened twice. Each time I had to coordinate further with the colorist and mixer, providing them new patches and communicating what had changed.

I was the main point of contact with the colorist and the mixer, providing creative comments and technical information/assets to each. During the final export for the client, I also needed to reapply color profiles to many shots that had been extended after the colorist had been finished. For this he sent me the stills and a LUT which I imported into Davinci Resolve, applied and exported the individual shots from Resolve. I did the final online editing and the deliverable exports from Premiere.

The client loved the final product, and said they were very impressed. They very much want to work with this production company again.