The serial nature of TV and its inherent short deadlines allow VFX facilities and effects artists to find a satisfying and stable niche.
While television visual effects producers are far from immune to the same market forces rock the film world, the serial nature of TV and its inherent short deadlines allow facilities and effects artists to find a satisfying and stable niche, says Deadline in a report on the Emmy contenders for TV VFX.
“The predictability of the television season helps us,” says Andrew Orloff, co-owner and visual-effects supervisor of the Los Angeles-based Zoic Studios, whose clients include TNT’s Emmy-nominated Falling Skies and ABC’s Once Upon A Time. “We built our business model on serving a bunch of different markets, and we’ve done pretty well.”
Head over to Deadline to hear more from Mat Beck, president of Entity FX, which works on Emmy nominee Game Of Thrones, and Gary Hutzel, a freelance visual-effects supervisor who has two Emmy nominations this year for his work on Syfy’s new series Defiance and the prequel series Battlestar Galactica: Blood & Chrome.
Formerly Editor-in-Chief of Animation World Network, Jennifer Wolfe has worked in the Media & Entertainment industry as a writer and PR professional since 2003.
