For Emperor, Offer generated users on Shotgun for The Artery in NY, Spin in Toronto, Redi Studios and Tempest FX in LA, and for two indie artists, one working in Nuke and one in Flame. “All the initial assignments with notes to each of the vendors were in Shotgun,” Offer said. “Then we reviewed the work as it came in. Shotgun was my main tool for initial breakdown and annotating.” In fact, it was really easy to import the data from the Google Sheet into Shotgun.
Right away, he created unique pipeline that was based on Shotgun for notes and communication and Flame for creating quick references, looking at plates, and for screening room reviews. Offer remembered: “We were working out of a post facility and every couple of days we would hook up my computer—running Flame—to one of the screening rooms and play shots in hi-res 4K on the DLP projector, pulling from a corresponding playlist in Shotgun. We would run through the shots and give notes in Shotgun much more efficiently than if we had to wait for a screening room, get the shots separately, transfer them onto some form of media, and then, most often, not have them align.” In Flame, Offer had shots layered up so if the team had a question about a previous version, he could just click down and see the project history—an impossible task with feed at a regular screening room. “As a one-man-band VFX supervisor with just one assistant,” Offer marveled. “I was able to accomplish in just five weeks what would have taken a team of four at least two months thanks to Shotgun, Flame, and AWS.”