VFX breakdown and budget from your script
Send us your script. Our estimating and planning system breaks it down shot by shot and bids every shot on the work it really needs, so you can shape the VFX to the budget you have.
Our approach: the budget follows the shots, every shot is tracked, and the plan moves with the scope.
UMP: omit a shot or move it from 3D to 2D, and its price comes off the bid at once.
Each shot and asset is bid on the work it needs. Include it, omit it or change its method, and the budget shows the change.
Every shot runs through our own tracking system: status, versions, delivery dates. The budget and the schedule stay under control.
Our planner builds the schedule and the team around your dates and budget, and re-plans them when the scope changes.
UMP: the asset is built once and used again, so repeat scenes cost less.
Environments, creatures and props that return are built once and used again, so repeat scenes cost less.
A flat rate puts one price on all the VFX. A flexible bid is built from the shots, so it moves when they do.
Flat rate: one price for everything. Omit a shot or change its method, and the price stays the same.Flexible bidding: SH 030 is omitted and SH 020 moves from 3D to 2D, so their price comes off the bid.
| What you get | Flat rate | Flexible biddingOur approach |
|---|---|---|
| How the VFX is priced | One price for everything | Each shot and asset by its own work |
| You see what every shot costs | No | Yes |
| Omit or add a shot, and the budget follows | No | Yes |
| Change the method of a shot, and see the cost change | No | Yes |
| Every figure explained by the breakdown | No | Yes |
Here's how we optimize the process.
UMP: each task is priced at the level and the method it really needs.
UMP: the planner levels the team, so fewer people carry the work by the same date.
Each task goes to the level it really needs: junior, mid or senior.
2D, 3D, matte painting or comp, chosen separately for each shot.
Our planner levels the load across the team, so fewer people carry the work with less idle time.
See early what the film needs on screen and what it costs, before the decisions get expensive.
| Shot | Scene | VFX work | Complexity | Days |
|---|---|---|---|---|
| 012_0040 | 12 | Set extension | High | |
| 012_0050 | 12 | Sky replacement | Low | |
| 027_0010 | 27 | Crowd multiplication | Medium | |
| 041_0030 | 41 | Fire and smoke FX | High | |
| 058_0020 | 58 | Wire removal | Low |
Every VFX shot of the script: what has to appear and how it can be made.
A VFX figure with the shots behind it: for the financing plan, a market or the production budget.
What to prepare for the shoot and what is done in post, agreed at the start.
Key scenes as pictures before the shoot, so the director, the producers and the financiers see the same scene.
A VFX figure for the financing plan.
A budget with the breakdown behind it, and previs frames for the pitch.
What to film, what to prepare, what goes to post.
What to capture on set for the scenes still to shoot.
A breakdown and a budget for the shots you have.
A file or a link. If your project requires an NDA, we'll gladly sign it before you share the script.
Scene by scene and shot by shot.
Breakdown, budget, schedule and previs options.
We walk you through it, shot by shot.
If your project requires an NDA, we'll gladly sign it. Either way, your material stays protected: only our core team sees it, and every member is bound by a strict NDA that forbids sharing any information received from third parties. Neither we nor they share anything about your request.
It depends on what has to be on screen: how many VFX shots the script has, how complex each one is, which assets return and which method suits each shot. That is why we price from your script, shot by shot.
Each shot is bid on the work it really needs: a sky replacement and a CG creature are very different jobs. You see the cost shot by shot, so you can keep a shot, cut it or change its method.
It depends on the days on set, the preparation before the shoot, the data captured on set (references, HDRI, measurements and scans), the number of VFX setups, the weeks of supervision in post, and whether the supervisor is on set or remote. We price it from your script and your shoot plan.
It depends on the number and complexity of the shots, what is planned before the shoot, when the cut and plates are handed over, the rounds of changes and the delivery formats. We plan the schedule and the team around your delivery date.
Plan every VFX shot from the script, agree the key scenes in previs, choose the right method for each shot, build returning assets once, capture good data on set, and change the shot list rather than the quality.
A list of every VFX shot in the script, also called a VFX breakdown sheet: what has to appear, how it can be made, how complex it is and how many days it takes. The VFX budget and the schedule are built on it.
Shot by shot. Our VFX bidding is flexible, not a flat rate: every shot and asset is bid on its own work, so when you include, omit or switch a shot, the budget shows what changed.
The script as a PDF, Final Draft or Word file, or a link to it, and what you know about the production: stage, financing, shoot dates and location. A pitch deck or lookbook helps but is not required.
A VFX breakdown of the script, a budget and a schedule. Where it helps the decision, previs of the key scenes.
If your project requires an NDA, we'll gladly sign it. Either way, your material stays protected: only our core team sees it, and every member is bound by a strict NDA that forbids sharing any information received from third parties. Neither we nor they share anything about your request.
2D, 3D, matte painting and compositing, chosen per shot, so the image holds up and the budget stays sensible.
Yes. The budget comes with the breakdown behind it, so every figure can be explained to financiers or at a market.
Any stage from development to post works. The earlier we see the script, the more of the VFX can be planned instead of fixed later.