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Du visual effects supervisor au superviseur des effets visuels, un rapport au collectif différent ?

Abstract : While the visual effects supervisor is becoming more and more present in the credits of French films through the digitalization of special effects technology, its role and position in the movie production workflow are considerably different from their Hollywood cousins. This article focuses on the divergences between these two approaches which are apparently equivalent but differ both in the relation with production and the artistic and technical crews. At first, we’ll observe the emergence of the job’s differences from the two sides of the Atlantic, especially since the development of special effects departments in the 1930s in Hollywood studios. Through this initial approach, we’ll highlight the key role of the visual effects supervisor, according to Hollywood and French models, a role which is at the crossroads of cinema and audiovisual professions and technologies. Today the supervisor is in connection with the production team, from the preparation onward and during the filming on set. But he/she is also an essential collaborator during postproduction, and occupies a strategic position whose point of view allows us to analyze the concept of “collective creation” at work in the production of movies with visual effects.
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https://hal.univ-lorraine.fr/hal-02963088
Contributor : Caroline Renouard <>
Submitted on : Friday, October 9, 2020 - 5:05:13 PM
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  • HAL Id : hal-02963088, version 1

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Caroline Renouard, Réjane Hamus-Vallée. Du visual effects supervisor au superviseur des effets visuels, un rapport au collectif différent ?. La Création Collective au Cinéma, CCC; LARA SEPPIA; 2LS2, 2017, Création Collective au Cinéma, sous la direction de Bérénice BONHOMME Isabelle LABROUILLÈRE Paul LACOSTE (01), pp.59-82. ⟨hal-02963088⟩

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