People & Culture

Inside Scoop | Elliot Newman, Visual Effects Supervisor at MPC

August 2, 2022

We’re lifting the lid on what it’s like to work Inside Technicolor. Elliot Newman talks us through his role as a Visual Effects Supervisor at MPC. Uncover more about what inspires him and what trends to anticipate in the VFX industry. 

Tell us about your favourite project from Technicolor/MPC & why you’ve chosen it? 

So many projects it’s hard to pick just one. I’d say some of my best memories are when I travelled. I got to go to China to work on Zhang Yimou’s Curse of the Golden Flower and Wadi Rum for Ridley Scott’s Prometheus, those two stand out because of that experience. I’d also say that The Jungle Book was a really great experience for the type of work and the team. The Lion King was as equally amazing, as was Prehistoric Planet… in some ways all three were completely different and special to me for different reasons.  

Talk us through your role at MPC?  

I’m a Visual Effects Supervisor, so I look after the visuals that MPC produce on a given project. This involves work closely with the filmmakers to help deliver their vision, and the MPC crew doing the VFX to ensure the visual target is met and the shots are all delivered on time.  

Are there any trends in the industry inspiring you right now?  

I think the general trend is that there’s a huge demand for VFX content with the various platforms of streaming, theatrical releases and episodic. All of this is providing a huge amount of content diversity that we’ve never seen before to this extent. It’s great that VFX is so firmly established as a filmmaking tool to help deliver stories that wouldn’t otherwise be possible.  

What’s inspiring you right now?  

All the reactions to the work we produced on Prehistoric Planet! It’s such a special project and it means a lot to me and so many people, it’s great after so many years in the making that we can finally share it with the world.  

What are your predictions for the world of VFX/insert relevant specialty in 5 years?   

I think real-time or at least GPU rendering will become more available to larger productions in the coming years. I think we will see continued convergence between the world of games and VFX in that respect. My hope is that technology will just continue to evolve and make super complex content just a little bit easier to produce. Although I suspect we’d just end up finding even harder things to do, it’s in our DNA! 

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