Simon Stanley-Clamp has an impressive resume, covering some of the biggest films of the last 15 years. A director and VFX Supervisor at Cinesite, Simon took a few minutes out of his hectic schedule to chat with us about cineSync.
Please tell us a little about yourself and your background
I am a VFX Supervisor at Cinesite, London. With thirty years background in post production, spanning TV, Commercial and Film production. Most recently, I worked on Independence Day: Resurgence as the VFX Associate Supervisor. Prior to this, I oversaw the visual effects for Cinesite’s work on Captain America: Civil War, having previously also overseen another Marvel production, Ant-Man.
What have been some of the most exciting and unique projects in your career? What makes them stand out?
Shows where you are closer to the client are generally the most rewarding, with direct feedback and interaction. A show like Moon, with involvement from pre production to final delivery. I was the overall VFX Supervisor , the project included more than 270 visual effects shots it was great fun bringing the CG moonrise robot Gerty and the lunar environments to life.
Sam Rockwell talks to Gerty in Moon
On what project did you start using cineSync, and how did it change the way you worked?
I think I may have used an early iteration of cineSync on Babe, Pig in the City.
Was there a specific feature of cineSync that you immediately responded to?
Sharing synchronised shots with the client, in real time and being able to annotate them – simple, fuss free interface – cineSync became synonymous with dailies – it’s the “Hoover” of dailies systems – you do a “cineSync session” – not a client synced dailies session.
How did cineSync change the way you approached remote collaboration on later projects?
It made reviewing material real time – rather than client reviewing remotely and sending notes – we, collaboratively review material all together.
How often do you work on global project? How much a part does cineSync play on these projects?
All the time, but even same country projects involve cineSync, say between a studio or location shoot and the Post Facility, for up-to-date feedback.
How have you seen cineSync’s toolset evolve over the years?
We adopted the Pro version, with simple grading tools, which is really handy, even if just for Exposing up a plate and zooming in to look at a particular detail.