Talk us through an average day in your role?
As Head of Production at SCENESIS Pictures my days are so varied and hugely stimulating. Throughout the day, I engage in constant communication with various departments such as CG and animation artists, VFX supervisors, colourists, as well as clients – acting as a central hub for all project information exchange. I ensure adherence to project schedules, deadlines, budgets, confidentiality agreements, and specific artistic and technical requirements, drawing from the experience of recent projects like Ravens. A significant portion of my time is also dedicated to document-related tasks, collaborating with departments like legal, human resources, and accounting. Additionally, I oversee studio security, equipment maintenance, and generate reports to track progress.
The SCENESIS team see themselves as digital DOPs – creating real world architectural environments for all projects with the finest in lighting and detailing from our bespoke archive. To create the most hyper-real, most natural, most involved CG environments, at SCENESIS we guarantee a diverse range of innovative post-production services are available in-house, catering to all project requirements. By establishing a boutique studio environment we really try to foster a warm, familial atmosphere for both clients and our team. We have worked hard to ensure SCENESIS is a true creative home for 3D, VFX, compositing and colour – working on post production for TV, film, advertising and video game content.
How did you get started in the media industry?
My journey in the media industry began with a long-standing fascination with VFX and a deep passion for films and great TV. All our team are mad about the craft and the programmes they get to touch – with some of the SCENESIS team having worked on Lupin, The Serpent Queen and more.
What training did you have before entering the industry?
Before entering the industry, I primarily worked as a writer, storylines co-writer and reader, collaborating closely with directors. My focus was on crafting compelling narratives rather than technical aspects, which I acquired through practical experience.
Why do you enjoy working in the industry?
I find immense joy in delving into storylines, discovering new narratives and universes, and assembling the perfect team for each project. Witnessing the gradual realisation of a project, step by step, is incredibly fulfilling. Moreover, the constant communication with individuals possessing diverse and complementary skills fosters continuous learning and growth. Working in the industry allows me to immerse myself in captivating narratives like the current SCENESIS feature Ravens, directed by writer-director Mark Gill, and produced by the production company Vestapol, founded in Paris by Mark Gill and Cyril Cadar. The film chronicles the life of Japanese photographer Masahisa Fukase. Collaborations with talented actors such as Tadanobu Asano and Kumi Takiuchi have enriched my understanding of storytelling dynamics. Projects like Ravens, post produced by us here at SCENESIS Pictures, exemplify the fusion of artistic vision and technical expertise, making each day a rewarding exploration of creativity. At SCENESIS we really have tried to prioritise designing an inspiring space that empowers artists to unleash their creativity and produce their finest work.
What piece of advice would you offer someone looking to explore a role similar to yours?
For those considering a role similar to mine, I recommend cultivating skills such as strong organisational abilities, clear communication, forward planning and a good memory! Additionally, acquiring a comprehensive understanding of VFX, CGI, and film knowledge is essential. Flexibility and resilience are crucial traits in a collaborative environment, alongside an unwavering passion for the work. Embracing opportunities to collaborate with diverse teams and studios enriches one’s understanding of the industry’s dynamic landscape.
