Lewis Andrews works in VFX on set and in post production for feature films, TV shows, factuals, and documentaries.
Lewis Andrews, founder of Wonderfilm Pictures, has worked closely with VFX Supervisors who pioneered some of the world’s earliest CGI on films like The Terminator (1984) and the Oscar-winning film Gladiator. He has also worked with VFX Producers on the award-winning show Game of Thrones.
Lewis has cultivated an extensive network of VFX relationships in the film and TV industry with VFX Producers, Supervisors, On-Set Crew, Vendors, and Compositors.
Lewis’s on-set role as VFX Lead Data Wrangler primarily supports the essential contributions of the VFX department; from artists and compositors to 2D and 3D specialists, riggers, and lighters. Lewis’s background in various creative fields and his passion for detailed workflows enrich his roles within VFX.
Lewis has captured a vast collection of HDRIs on set utilising Wonderfilm Pictures’ advanced VFX gear, including specifically designed nodal camera heads like the Nodal Ninja 5. These tools enable the swift capture of detailed 360° and panoramic photos, even when facing tight deadlines and varying lighting conditions. To process these captures, he uses PTGui, ensuring high-quality and consistent results.
Lewis customises FileMaker VFX databases to track on-set VFX work, such as capturing slates, camera notes, measurements, VFX details, and diagrams or photos taken on set.
For post-production, Lewis designs FileMaker databases to name and track assets and file paths on SSDs or online servers during VFX shows.
He also creates similar FileMaker databases to track VFX shots, manage vendor bids, and produce daily reports for the VFX producer.
Photogrammetry data is essential for reconstructing environments and assets during post-production. Lewis ensures thorough coverage and detailed asset recording by using a range of equipment, from Lidar to drones.
Managing a 50% chrome/matte grey ball is a crucial aspect of VFX supervision. Wonderfilm Pictures manufactures these VFX balls internally, ensuring they meet high standards of quality and consistency.
Lewis is dedicated to data management, ensuring the importance of well-organised and quickly accessible data. He has developed advanced FileMaker systems to manage and track data efficiently, enhancing productivity on set.
Lewis highly values lens gridding for its accuracy. He meticulously compiles detailed reports from lens grid shoots, capturing essential data for editorial and tracking purposes. He ensures seamless capture, paying close attention to the dolly’s length, the floor’s flatness, light distribution, and the necessary focus pull or grain sample.
Lewis has a range of VFX kit to make VFX magic happen, from DSLRs, Nodal Ninja Head, Sigma 8mm Fisheye Lens and more.Â
Within his role as Lead VFX Data Wrangler, Lewis Andrews captures all the necessary on set data required by VFX artists to create stunning visuals for feature films, TV, factuals, and documentaries.
Lewis shoots and processes HDRIs using equipment like the Nodal Ninja 5 and PTGui software, ensuring high-quality 360° and panoramic photography. He uses 50% chrome/matte grey balls for lighting references, which Wonderfilm Pictures produces in-house for consistent results.
In photogrammetry, Lewis employs a variety of equipment, from Lidar to drones, to gather crucial data for reconstructing environments and assets. He emphasises meticulous data management, having developed sophisticated FileMaker systems to organise and track data efficiently, boosting on-set productivity.
Lewis customises FileMaker Pro databases to log VFX work, including slates, camera notes, measurements, and on-set diagrams. For post-production, he designs databases to manage assets and file paths on SSDs or servers, and track VFX shots, vendor bids, and daily reports for VFX producers.
Lewis is also committed to lens gridding, creating detailed reports from lens grid shoots that capture necessary data for editorial and tracking. He ensures precision in every capture, considering factors like dolly length, floor flatness, light distribution, and focus requirements.
As VFX Lead Data Wrangler, Lewis has been also given VFX Supervisor responsibilities on productions for Netflix, Amazon, and BBC Science.
On set, Lewis has directed sprite units with multiple background supporting artists, managed and shot blue screen elements, and ensured the VFX department met all creative criteria and briefs.
Lewis has worked with renowned VFX DOPs and aerial cinematographers to capture background plates. He frequently oversees plate shoots that support narrative needs in Visual Effects shows featuring full CG creatures and mixed CG/live-action sequences.
His expertise also includes operating cinema cameras like RED and Sony, which adds significant value to smaller-scale crews, including television projects.
Lewis is dedicated to streamlining data management, ensuring that information is well-organised and quickly accessible. He has developed advanced FileMaker systems to manage and track data efficiently, significantly enhancing on-set productivity.
Lewis builds custom FileMaker VFX databases to log on-set VFX work, including capturing slates, camera notes, measurements, VFX details, and diagrams or photos.
In post-production, he designs FileMaker databases to name and track assets and file paths on SSDs or online servers during VFX shows. He also creates databases to track VFX shots, manage vendor bids, and produce daily reports for the VFX producer. This meticulous data management facilitates smoother workflows and more efficient post-production processes for feature films and TV shows.
Wonderfilm Pictures offers RED KOMODO-X VFX Arrays, ideal for large-scale productions needing practical VFX plate shoot solutions, whether aerial or ground-based.
We collaborate with a leading engineer to meticulously design our array assemblies from scratch for various film industry applications. These range from heavy-duty stabiliser heads to drones with crucial payload capacities.
At the heart of our ultra-lightweight VFX Array platforms are three RED KOMODO-X Cameras, the latest in the RED KOMODO series. The RED KOMODO-X captures stunning detail with its 6K sensor at 80 FPS and 16.5+ stops of dynamic range.
Our VFX Array produces a stitched plate with a combined 160° field of view (FOV). We maximise coverage using the RED KOMODO-X 6K Sensor and Zeiss 21mm CP.3 XD lenses, producing a combined 65.5° FOV per camera.
Drawing on our extensive experience with large-scale VFX shows, our VFX Arrays are designed with large VFX vendors in mind, featuring a 25° FOV overlap for precise, seamless stitching.
In a horizontal configuration, three RED KOMODO-X cameras, each with a 19.9MP sensor and 6144 × 3240 effective pixels, produce a combined 18432 x 3240 stitched plate.
Our arrays use three identical Carl Zeiss 21mm CP.3 XD lenses to ensure top-notch imaging and VFX plate composition. Zeiss’s XD technology allows for reliable stitching and accurate lens distortion mapping.
Our VFX Array rigs are built for major productions, featuring custom hardware for full remote operation within 1500 ft. This includes R/S, FIZ, Playback, and Timecode functionalities.
