How to prepare a VFX project before hiring

1. Make a shot list

List each shot that needs work, with its length and a simple description of what should change. For example, remove a microphone from the top of the frame, replace the phone screen content, add smoke behind the actor or clean up a distracting sign. Give each shot a name or number and note its timecode in your edit. A clear list lets artists estimate time accurately and reduces back-and-forth.

2. Supply the best footage you have

Send the original camera files rather than heavily compressed exports whenever possible, because compression removes detail that effects rely on. Mention the frame rate and resolution. If the project involves green screen, send the clip with the full backdrop visible, and say whether it was evenly lit. Shaky shots, motion blur and low light make tracking and cleaning harder, so tell the artist about known problems up front.

3. Provide references

Show the look you want: a still from a film, a frame from another video or a quick sketch. Words such as realistic or cinematic mean different things to different people. If the effect must match your brand style, share your guidelines. Say whether the result should look subtle and invisible, or obvious and stylized.

4. Plan before you shoot

If you have not filmed yet, talk to the artist first. A few small decisions on set, such as keeping the camera steady, shooting a clean plate without the object, or lighting the green screen evenly, can save much time and money later. Mark tracking points where needed and record reference photos of the set.

5. Agree formats and delivery

Ask which format and codec the artist will deliver, whether they return just the effect shots or the complete edited video, and how they will name the files. Decide on the resolution, frame rate and color settings so the shots match your edit. Agree how files will be shared and how long the artist keeps project files.

6. Give clear feedback

Review each shot in full-screen at normal speed, then frame by frame for problem areas. Collect your comments into one list with timecodes before sending. Be specific: say that the edge flickers at a given moment rather than that it looks wrong. Agree on the number of revision rounds and what counts as a new request.

Questions to ask the artist

• Can you show examples of shots similar to mine?
• Which software and formats do you work in?
• How many revision rounds are included?
• How do you price: per shot, per second or per project?
• What is the expected turnaround, and can you handle a rush?
• Will you return project files, and for how long do you keep mine?

Budget and timing

The price of effects grows with shot length, complexity and how much cleanup the footage needs. Start by ordering one or two test shots, not the whole project, so you can judge quality and communication. Build time into your schedule for feedback and revisions, since effects work rarely lands perfectly on the first pass. If your deadline is tight, tell the artist at the start, share the most important shots first and agree on which ones can be simplified if time runs short. Keep backups of all original footage and exports until the final video is published.

Rights and credits

Confirm who owns the finished shots and whether the artist may show them in a portfolio. If the work uses stock elements, fonts or plugins, ask that they are licensed for commercial use. Keep a short written agreement covering the shot list, price, deadline, revision rounds and file delivery, so both sides know what to expect.

Common mistakes

• Sending low-quality exports instead of original files.
• Describing the effect only in vague words.
• Asking for changes in many small separate messages.
• Talking to the artist only after the shoot, when problems are hard to fix.