Even though director Justin Lin likes to shoot as many practical stunts as possible, there was still a lot of VFX work on Fast and Furious 6. Lead VFX vendor, London's Double Negative, "loaned" David Vickery to the production to act as Overall VFX Supervisor with Kelvin McIlwain. Between David and Kelvin, there were a number of facilities to supervise, including MPC Vancouver, Lola, Image Engine, Proof, Pixomondo and Factory VFX (to name but a few).
In an interview with Art of VFX, David Vickery talks about how the process worked:
How was the collaboration with director Justin Lin?
Justin is an incredibly creative and collaborative director. Even by the time we had our first meeting in January 2012 he had a team of previs artists blocking out action sequences. There were already a thousand questions for me as to how he would best go about filming the big VFX set pieces. Justin enjoys film making so much that he wants to contribute at every stage of the process and he expects and encourages the people he works with to contribute in the same way. He would frequently ask me my opinion on subjects that had nothing to do with VFX.
You were Overall VFX Supervisor on this show with Kelvin McIlwain. How did you split the work with him?
Double Negative loaned me out to Universal as the show’s overall supervisor and the idea was always to split the role with Kelvin. It was a really fun collaboration from start to finish and we both brought a lot to the table. Kelvin has actually worked on the visual effects for all of the FAST AND FURIOUS movies and knows Justin very well. I came with all the experience and expertise of Double Negative behind me.
2nd Unit was shooting most of the visual effects heavy work so it made sense for me to run that unit, knowing that Dneg would be picking up the work in post anyway. Kelvin already had a great working relationship with Justin so he stayed on main unit. In post, I supervised all the work done by Double Negative London and Singapore. Kelvin looked after the other Vendors.
Can you explain to us one of your typical day on set and then in post?
In post we were working with crews all around the world on three different continents. We would have a cineSync with our Singapore office each morning at 9.30am, internal creative reviews throughout the rest of the day. Then each evening we would Skype and cineSync with Justin and the editors in LA.
The rest of the interview can be found at the always informative Art of VFX, including some great before and after shots.