Even Furious FX has used this approach over the past few years. We originally staffed up with seasoned generalists who could handle multiple tasks, though when the number of shots awarded per project went from 20 to more than100, a more streamlined process was required. That is where the specialty company and independent contractor have come into play. These options allow for the luxury of full to part-time paint, rotoscope or tracking experts, while further developing relationships between the smaller one-stop shop and those that have opted to tailor their businesses to fit a particular skillset.

For all practical purposes, there is enough work for all of us in the digital food chain. The tricky part is balancing everything out at the end of the day. As we vfx studios find ourselves working alongside each other, or able to help one another through the workflow highs and lows, the better this balance will become.

As far as what makes the smaller facility work, I can only speak from our experience. First is the support of fellow professionals who have given us the chance to provide the same quality service as when we were backed by a corporation. That is the initial step to overcome, as those who want to offer support may not yet have the blessing of a studio that requires a proven track record. Once projects begin to award, and all expectations are consistently met, the focus shifts to developing that visual effects utopia we all strive to become.

Our approach has been to populate the office with exceptionally talented artists and production personnel who share the same sense of responsibility and a desire to produce high quality images. The FFX staff is primarily made up of people with whom we have collaborated for nearly a decade. That factor alone provides a sense of security while making for an extremely efficient workplace. Everyone can focus on what they need to do, knowing that the rest of the team is equally as dedicated and capable of completing their tasks. Not to mention, the opportunity to work among friendly, familiar faces provides a tremendous boost to morale, and makes us appreciate coming into work every day.

Assembling this dream team took some time, since a once tightly knit community was spread out all over town as soon as the one facility closed, and we were still drawing up blueprints for our own digital creation. Eventually gaps in production schedules coincided, and we can now say our crew has never been stronger.

Maintaining an ace staff has enabled us to surpass the 1,000 shot mark in two-and-a-half years, with an average of only 12 employees split between artists and production. Clients often marvel at the work created by this small but elite group. Our size, which has grown to a maximum of 18 during the heaviest times, allows for a balance between creating many diverse visual effects while avoiding the inevitable distractions brought on by managing a much larger crew.

As for client interaction, our philosophy is that things run more smoothly when everyone plays from the same deck of cards. Full disclosure has been the rule since this approach tends to be more streamlined. Topics for open discussion might include our hard costs, client budgets, coinciding projects in-house, the difficulty of shot revisions and honesty when a requested change is really “no biggie.” A bit of give and take has enabled us to cut to the chase more often and avoid extraneous memos when a friendly handshake will do.

Scott Dougherty and his partner took the closing of Cinesite L.A. as an opportunity to open their own vfx shop, Furious FX.

Perhaps this model for a successful, smaller-scale visual effects facility can be applied to other areas of production. Keep things manageable, attract key talent, and work alongside clients and fellow companies to create a larger team with similar goals. Surely the desire for combined success from all parties has helped us achieve a notable position in the visual effects market, while rekindling a spark from the past that may have otherwise been extinguished.

This theme of breathing life back into something that deserves a second chance has references beyond Shelley’s gothic prose of the 1800s. In what could be comic book poetic justice, I sometimes find it interesting that the last shot on which David and I collaborated before opening our own business featured X-Men’s Jean Grey escaping death through rebirth as the fiery Phoenix. Now there’s a coincidence right out of a movie.

Scott Dougherty founded Furious FX with visual effects supervisor David Lingenfelser in early 2004, following a decade with Cinesite Hollywood that began as a one-week temp assignment. Prior to this experience, he was a production manager/coordinator and art department assistant for several feature films after graduating from Northwestern University and moving to Los Angeles sight unseen.

Furious FX is currently in production on Spider-Man 3, Eragon and The Heartbreak Kid, having recently completed this year’s releases Invincible, The Guardian, The Covenant, Flicka and upcoming Santa Clause 3: The Escape Clause.