Remote Work Fuels Innovation in VFX Studios

The pandemic has sparked a wave of new working practices, security protocols, and technologies that are set to benefit the VFX industry for years to come.

When the world was faced with the sudden need to close offices and shift to remote work, VFX studios stepped up, adapting in ways they might never have imagined otherwise. Now, with remote work proven to be both secure and efficient, the work-from-home (WFH) movement is reshaping how companies operate—from reducing office space to expanding their talent pools beyond geographic boundaries. Employees are enjoying better work-life balance, while companies report stable or even increased productivity.

Visual Effects Supervisor Rob Delicata notes that while the WFH model has been viable for smaller studios for a while, larger companies were held back by strict security requirements from major studios. "The smaller companies embraced remote work because it offered flexibility for freelancers and clients," Rob explains, "but they weren’t trusted with the big projects due to security concerns. That’s all changed now—virtually overnight."

At Cinesite, the shift to remote work happened rapidly when the pandemic hit. Their team quickly implemented cloud-based solutions and worked closely with clients and studios to establish new security guidelines.

“Before, no one thought VFX and animation could be done remotely, mostly due to concerns around security and tech limitations,” says Sophie Hunt, Group Communications and Publicity Manager at Cinesite. “But the team has done an incredible job overcoming these challenges.”

Cinesite's CTO, Michele Sciolette, helped co-author a Visual Effects Society Technology Committee document on WFH best practices, offering a wealth of information on working securely and navigating remote software solutions. In an industry-wide effort, studios, vendors, and facilities have shared tech innovations to help everyone keep the work flowing smoothly.

"Our WFH setup is centered around remotely accessing workstations via HP ZCentral Remote Boost (formerly HP Remote Graphics Software)," Michele explains. “We also use Cinesite’s custom RV wrapper for remote dailies, along with Teradici and NoMachine to enhance workflow. Plus, our pipeline and technical teams built a secure, scalable VPN system to support this remote access.”

Through collaboration and rapid innovation, the VFX industry has proven that remote work is not only possible but may be the future.

Over the past year, Cinesite has successfully completed major VFX projects like Marvel’s 'Black Widow' and Warner Bros.’ 'Space Jam: A New Legacy' — all while working remotely. Despite the challenges of the pandemic, the studio managed to maintain its usual pace, proving that remote work can deliver high-quality results.

Cinesite’s 1,400 employees have been supported by a dedicated VPN, allowing seamless collaboration across teams. They've used Google Apps for communication and video conferencing, which, according to Sophie Hunt, Group Communications and Publicity Manager at Cinesite, has helped bridge the gap between their European and Canadian studios. “Working remotely and being constantly available for video calls has leveled out any geographical differences,” Sophie explains.

Remote work has brought many positive changes, and Cinesite is now looking toward a hybrid model for the future. In a survey of their Montreal staff, the feedback was overwhelmingly supportive:
- 37% of employees reported feeling less stressed working from home, while 47% said their stress levels remained unchanged.
- Over 91% of employees have successfully adapted to structuring their work-from-home schedules.
- Most employees prefer a hybrid working model, with the office remaining accessible when needed.

London-based Rumble VFX also adapted quickly to remote working, thanks to systems already in place. Founder Richard Costin explains that their approach allowed them to avoid many of the security concerns that come with VPN access on personal devices. "We mostly worked on machines directly at the studio," Richard says. While keeping assets up-to-date remotely was a challenge, the team quickly got used to the process.

For Richard, the biggest downside of remote work was losing the ability to brainstorm ideas in person. However, he’s found some unexpected upsides too, such as fewer distractions at home and the ability to use his commuting time more productively. He does worry about how remote work affects new artists. “The hardest part is for juniors just entering the industry,” he says. “Being around more experienced colleagues is essential for growth, and it’s tough to replicate that support remotely.”

This concern is shared by Freefolk’s Joint Managing Director Vittorio Giannini. While their team transitioned smoothly to remote work, Vittorio stresses the importance of communication, especially with junior staff. “Our mantra for the past 18 months has been to focus on our people and keep the team connected,” he says. “We’ve been especially mindful of our newer team members who’ve missed out on valuable ‘hands-on’ learning experiences. We believe getting back together in person will help address this.”

Though remote work has brought undeniable benefits, it’s clear that a balance between flexibility and in-person collaboration will be key to supporting the next generation of VFX talent.

Before the pandemic, working at VFX studios like Freefolk was largely office-based, with teams brainstorming and collaborating in person. But the last few years have changed everything. Studios like BlueBolt have actually grown during this time, expanding their operations while working on more shows than ever before. As Managing Director Tracy McCreary explains, “Pre-COVID, our growth was limited by the number of desks we had. Now, we’ve rethought our physical footprint, moved our machine room to a data center, downsized our Soho office, and opened up a new space near Victoria Station. Right now, we have more artists than we do desks. Not being limited by office space has really allowed us to expand.”

Sohonet also found that the transition to remote work came with plenty of positives. They already had the technology in place, so all that was needed was to provide staff with furniture and screens. According to COO Damien Carroll, the shift has been well-received. “Most of our staff and managers welcome the change, although many prefer a hybrid setup where they can come into the office too,” he says. Productivity hasn’t dipped during the pandemic, but maintaining company culture and onboarding new team members have been challenging.

Damien believes hybrid work is here to stay. “Any business that doesn’t accommodate it will be at a disadvantage,” he says. However, the real challenge will be syncing individual schedules. “There’s little point in coming into the office if you’re just going to spend hours on Zoom with remote colleagues,” he adds.

Freelancers are also benefitting from the remote work trend. Allan Torp Jensen, who’s been working remotely for five years, says it’s a win-win for both artists and studios. “Setting up a home studio can be expensive, but the work-life balance and a comfortable, tailored environment are well worth it,” he shares. Allan notes that he’s actually more productive at home, delivering more shots and staying focused without the distractions of an office.

Studios like BlueBolt, Freefolk, Sohonet, and Cinesite have all surveyed their staff and found that most employees prefer a hybrid model. Tracy McCreary from BlueBolt points out that content security was the biggest hurdle that kept teams tied to their desks. “Now, with all the systems we’ve put in place to ensure security, as long as there’s no mandate to be in the office, flexible working is something we’d love to continue.”

The industry’s current talent shortage is another reason why flexible working is crucial. Vittorio Giannini of Freefolk says that studios need to offer this flexibility to remain competitive and attract top talent. Damien Carroll at Sohonet adds that the pandemic simply accelerated a trend that was already underway. “Even before COVID-19, remote work was becoming a differentiator in the job market, especially for recruiting software developers. Cloud workflows were already making remote work more feasible, and the pandemic has only sped things up. Now, businesses need to realize that the talent they’re struggling to find may not be within commuting distance—but it’s out there.”

Visual Effects Supervisor Rob Delicata agrees that this shift could reshape office spaces and how companies operate. “Remote working will benefit clients in terms of price and productivity. If people can make bold decisions, it could spark a new creative and productive era for the industry.”

For now, though, most VFX facilities are prioritizing health and safety. Some are allowing staff to come into the office if necessary, while others are taking a more cautious approach and monitoring the situation. While the timeline for fully returning to offices remains unclear, one thing is certain: remote work is here to stay, and the future of work in the VFX industry will be much more flexible than it was before the pandemic.