One of the most common questions we hear from new clients isn’t about our creative capabilities. It’s about logistics. How does this actually work? What do you need from us? How do we communicate? Where does your work start and our work end?
These are the right questions. VFX outsourcing fails more often because of process friction than because of artistic shortcomings. A studio can have the most talented compositors in the world, but if the handoff from your editorial team is messy, if notes get lost between platforms, if delivery specs aren’t locked before work begins, talent alone won’t save you.
So here’s how we actually work. Not the marketing version. The real version, with enough detail that a VFX supervisor or post producer can evaluate whether our process fits their workflow.
Stage One: The Discovery Conversation
Every project starts with a conversation, and that conversation has a specific structure. We’re not just asking “what do you need?” We’re mapping out the full context of the project so we can scope accurately and avoid the surprises that kill timelines later.
Here’s what we cover in the first call or meeting:
Project scope and timeline. How many shots? What types of work? What’s the delivery schedule, and how firm are those dates? Is this a single delivery or are shots being turned over in batches? We need to understand the full picture before we can commit to anything realistic.
Creative reference and expectations. What should the final work look like? Are there reference frames, mood boards, or approved concepts? For compositing work especially, understanding the target look early prevents the kind of fundamental direction changes that eat through revision budgets.
Technical pipeline details. What’s the editorial software? What format are plates delivered in? What’s the color space? Is there an existing VFX pipeline with naming conventions and folder structures we need to match, or are we building that framework? What review tool does the client use? These questions sound tedious but they prevent the kind of mid-project technical friction that derails schedules.
Communication preferences. Who’s the primary point of contact? How often do they want updates? Do they prefer email summaries or live calls? Is there a project management tool we should plug into? Some clients want daily check-ins during crunch. Others want a weekly summary and nothing in between. Both approaches work, but only if we know the preference upfront.
Revision policy and approval workflow. How many revision rounds are included? Who has final approval authority? What happens if notes conflict between the director and the VFX supervisor? Getting clarity on the approval chain before work starts eliminates one of the most common sources of vendor friction: the endless revision loop where nobody can agree on what “done” means.
This discovery stage typically takes one to three conversations depending on project complexity. We don’t rush it. Every question we don’t ask here becomes a problem we have to solve later, usually under more time pressure.
Stage Two: Scoping and Bid
Once we understand the project, we put together a detailed scope document and bid. This isn’t a one-line quote. It breaks down the work by category and complexity, specifies deliverables and timelines for each batch, and identifies any dependencies or assumptions.
We categorize shots by complexity tier because not all VFX shots are equal. A simple wire removal takes fundamentally different resources than a full CG environment extension. Bidding everything at the same rate either overcharges you for simple work or underprices the complex work, and underpriced complex work is exactly how vendors end up cutting corners.
The scope document also includes our assumptions about what we’ll receive from the client. If we’re expecting tracked plates and we get untracked footage, that changes the timeline. If we’re expecting final editorial and the cut is still shifting, that changes the shot count. Making these assumptions explicit protects both sides.
Stage Three: Technical Setup and Onboarding
This is the stage most vendors skip or rush, and it’s where the foundation for the entire project gets built.
Asset transfer protocol. We establish how plates and reference materials will be delivered. Typically this means setting up a shared transfer system with clear folder structures. We confirm file naming conventions, frame ranges, and handle counts. This sounds like administrative detail, but a misnamed plate sequence can cost hours of troubleshooting.
Pipeline alignment. We configure our internal pipeline to match the project’s requirements. Color management settings get locked. Delivery specs, including resolution, format, frame rate, and codec, get confirmed and tested with a sample delivery before full production begins. That test delivery catches technical issues that would otherwise surface on the first real delivery day. We’ve written a deeper piece on why the spec sheet, pipeline test, and handles convention save projects — the three production documents that prevent the most common failures.
Team assignment. We assign specific artists and a dedicated project coordinator to the work. The coordinator is your single point of contact for everything logistics. If you need a status update, a delivery schedule, or an answer to a technical question, you know exactly who to call. No chasing people across departments, no “I’ll have to check with someone and get back to you.”
Review pipeline setup. We set up the review workflow based on the client’s preferred tool and process. Some clients use ShotGrid. Some use Frame.io. Some use a proprietary review system. We adapt to what you’re already using rather than forcing you onto our platform. The goal is zero friction on the review side.
Stage Four: Production
This is where work happens, and where pipeline discipline either pays off or doesn’t.
Our production workflow follows a consistent pattern for every shot batch:
Plate ingestion and prep. When plates arrive, our pipeline automatically verifies frame counts, naming, and format against the delivery spec. Any discrepancies get flagged immediately, not discovered three days later when an artist opens the sequence. Plates get conformed and prepped for artist work.
Shot execution. Artists work against the approved reference and notes. For compositing work, this typically means rotoscopy, cleanup, integration of CG elements, color matching, and grain management. For more complex work involving 3D or CG elements, the pipeline includes asset reviews, lighting approvals, and animation checks at each stage before final compositing begins.
Internal review. Before anything goes to the client, every shot passes through an internal QC process. A lead artist reviews for technical quality, creative accuracy, and consistency with the approved direction. This catches the majority of issues before the client ever sees them, which means fewer revision rounds and faster approvals.
Client delivery and review. Shots get delivered in the agreed format, on the agreed schedule, through the agreed channel. We include a summary of what’s in each delivery, any notes or flags on specific shots, and suggested viewing order if sequence context matters. Making the review easy for the client makes the feedback better, which makes the next version faster.
Revision execution. When client notes come back, they get logged, prioritized, and assigned. We track revision rounds per shot so there’s always clear visibility into where things stand. If a shot is on its third revision and the notes keep changing direction, that’s a conversation we have proactively rather than silently absorbing the cost and building resentment.
Stage Five: Communication During Production
We separate communication into two tracks: scheduled and reactive.
Scheduled communication is the regular cadence we agree on during onboarding. For most film and TV projects, this means a weekly status call or email that covers shots in progress, shots delivered, shots awaiting review, and any blockers or risks. These updates are brief and structured. No one needs a thirty-minute call that could’ve been a two-paragraph email.
Reactive communication is for anything time-sensitive. A plate issue that blocks artist work. A creative direction change that affects shots in progress. A schedule change that impacts delivery. We flag these immediately rather than waiting for the next scheduled update. The principle is simple: no surprises. If something is going to affect the delivery, you hear about it from us before you have to ask.
We also maintain a shared status tracker that the client can access anytime. Every shot’s current status, assigned artist, revision count, and delivery target is visible. Some clients check it daily. Others never look at it and rely on the weekly summary. Either way, the information is there.
Stage Six: Final Delivery and Closeout
Final delivery isn’t just sending the last batch of shots. It includes a verification process where we confirm every delivered shot matches the approved version, delivery specs are met, and nothing’s been missed.
We provide a complete delivery manifest listing every shot, its final version number, delivery date, and any notes. For larger projects, we also deliver organized project files so the client’s team can make minor adjustments if needed without coming back to us.
The closeout conversation covers what worked, what didn’t, and what we’d adjust for the next project. This isn’t a formality. We genuinely track this feedback and use it to refine our process. Every client teaches us something about how to work better.
Why Process Transparency Matters
We’ve laid out our process in this kind of detail for a specific reason. The VFX outsourcing relationship fails most often not because of creative disagreements but because of procedural gaps. Plates show up in the wrong format. Notes get lost. Deliveries don’t match specs. Nobody knows who’s responsible for what.
Every step in our process exists to prevent a specific category of failure we’ve either experienced or watched other studios experience. It’s not theoretical. It’s the accumulated knowledge of working on hundreds of projects across film, TV, advertising, and streaming.
If you’re evaluating VFX partners and process matters to you, which it should, we’re happy to walk through any of this in more detail. Reach out and we’ll have a real conversation about how we’d work together on your specific project.
Common Questions