VFX for independent cinema: complete workflow guide

VFX in independent cinema isn't a luxury

There's a widespread prejudice: visual effects are blockbuster stuff. You need millions in budget and hundreds of artists. It's false. Some of the most effective VFX I've done were for short films and independent features with tiny budgets.

The difference isn't money — it's planning. Well-planned VFX on an indie film costs a fraction of improvised ones on a rich production. And the result can be identical.

In this guide I share the workflow I use when working with independent productions. This isn't theory — it's what I do every day.

Phase 1: Pre-production — where you win or lose

70% of VFX success is decided before turning on the camera. Seriously.

VFX shot breakdown. Before shooting, I analyze the screenplay and identify every shot requiring post work. For each, I estimate complexity and time. This gives the producer a real picture of costs and lets the director make informed choices — maybe rewriting a scene to make it more achievable.

On-set consulting. Even just a video call with the DP before shooting can make the difference. Issues like: green screen placement, tracking markers, set cleanliness, space for set extension. If these aren't considered during shooting, you pay triple in post.

Shared visual references. I create a document with references for every effect — existing films, concept art, quick tests. This aligns director, DP and me before shooting a single meter of footage.

Phase 2: On set — the rules that change everything

Consistent lighting. If I need to insert a CG element into footage, I need to know exactly where light is coming from. A chrome ball and grey ball on set are sufficient — they cost nothing and give me the information for perfect lighting match.

Clean plate. For every VFX shot, shoot a clean plate — the same frame without actors. Seems basic but it's the single element that most accelerates compositing.

Tracking markers. Small green stickers in the right spots on set. They serve 3D camera tracking and make matchmove ten times faster and more accurate.

Overscan. I always ask the DP to shoot with a bit of extra margin — needed for stabilization and set extensions. Costs nothing and saves hours of work.

Phase 3: Post-production — the integrated workflow

This is where my approach makes the difference for independent cinema.

Edit before VFX. I don't start VFX until the edit is solid. No point working three days on a shot that gets cut. Seems obvious, but it happens more often than you'd think.

VFX and color together. Managing both, I can composite already in the film's chromatic direction. I don't work on "neutral" shots that someone else then grades — I work directly in the final look. The result is more coherent and the time halves.

Rapid iterations. The director sees the shot with VFX and color in the same review session. They can say "that sky is too dramatic" and I change the grade and adapt the compositing in real time. In a fragmented workflow, that note would become three emails between editor, VFX artist and colorist.

Phase 4: The right tools for right budgets

After Effects + Mocha Pro for 90% of indie film VFX. Compositing, rotoscoping, tracking, clean-up — does everything and I know it by heart.

DaVinci Resolve for editing, color and Fusion (integrated VFX). A single software for nearly the entire pipeline — this is a huge advantage for budget-conscious productions.

3ds Max or Unreal Engine when 3D elements are needed. Set extension, environments, CG objects.

Generative AI for environmental elements, skies, textures. I used it to generate backgrounds on Along Came Ruby — results that would have required days of matte painting.

What it actually costs

An indie film with 20-30 medium-complexity VFX shots (clean-up, set extension, basic compositing) requires roughly 3-4 weeks of work. Less than you'd think — especially if pre-production was done right.

The real cost of unplanned VFX is much higher: unsalvageable shots, doubled timelines, quality compromises that show on screen.

My advice: involve me in pre-production. It costs little (often just a consultation) and saves a lot in post. Check out my VFX services or see the Along Came Ruby case study to see this workflow in action.