We asked compositor Alison Lake (Black Panther, Spiderman: Homecoming, Jurrasic World) and effects supervisor Georg Kaltenbrunner (The Avengers, Captain America, Star Wars: The Force Awakens), to talk about the most memorable shots they worked on, and break down what they do on a given shot.
Create: How long were you on Terminator: Dark Fate, and what were your roles?
Kaltenbrunner: Nine to ten months. I’m the point person for the ILM effects department, talking to the VFX supervisors and trying to interpret their vision, and to communicate it to my team, and suggest solutions and creative direction to my team. At the peak time we had about 30 effects artists between San Francisco and Vancouver; they’re all strictly effects artists. It’s a diverse group of people, arguably one of the more intricate departments. It’s a lot of math, so you get a lot of those mad geniuses, but you also get the really creative types.
Lake: Four or five months. As a compositor, we are the end of the line, in terms of the pipeline. We’re the last department that works on a shot before it leaves the studio and goes to the client. But to get a look correct and approved by the client, we will often work in line with lighting and effects, basically to get one early shot looking good, and then they’ll roll that look through the rest of the film. So we work throughout the entire production. I worked on a wide range of about 15 shots throughout the film.