/News 18.05.23


Dive into the captivating world of visual effects as we sit down with Prue Fletcher, the brilliant Executive VFX Producer from SLATEVFX. With an impressive career spanning over 25 years, Prue has become a true powerhouse in the industry, wowing audiences with her awe-inspiring creations while deftly managing budgets and timelines.

In this inspiring Q&A, Prue takes us behind the scenes, sharing stories from her experiences on projects like Mortal Kombat and Ten Pound Poms. She also sheds light on the training opportunities offered by SLATEVFX, her favourite aspects of working with her talented team, and the perfect recipe for finding balance in life. Grab a front-row seat as we explore the extraordinary world of visual effects through Prue Fletcher’s eyes.

How did you first get started in the field of VFX, and what inspired you to pursue it as a career?

In the late 80s, I began my journey in post-production as a facilities manager and was so fortunate to have the opportunity to immerse myself in both the technical and creative aspects of long-form Series and Commercial TVC work.

Having witnessed the transition of film merging into the digital era and the production of VFX shots using the first Flame (VFX software), I thrived on the excitement of collaborating with a team to breathe life into visual stories using cutting-edge technology. This passion continues to drive me forward.

I’ve been taught by some of the industry’s finest VFX compositors and supervisors, learning the ins and outs of how shots come together and understanding the requirements at shoot stage.
This enabled me to attend shoots and gave me greater insight into the exciting world of VFX production.

“I was really just so lucky to be there at the right time, and I took every opportunity to learn.”

Ten Pound Poms was released in Australia and the UK on May 14. The series looks incredible, can you tell us what it was like working on this production?

We were so fortunate to work once again with Sue Seeary, as well as Victoria Goodall, Jamie Stone, Ana Kokkinos and the team from Eleven Films on Ten Pound Poms.
The series is set in the 1950s and therefore required the creation and re-creation of scenes that represented both Sydney and Manchester (UK).

As a key vendor for the series, SLATEVFX played a significant role during the pre-viz stage, bringing Jamie and Ana’s ideas to life. By providing technical visualization to the onset crew, under the supervision of VFX Supervisor David Booth, we had a greater influence on the visual style and tone of all the VFX shots utilized throughout the production. From constructing ocean liners to animating cockroaches, creating expansive set extensions, seamless sky replacements, and various special effects, the breadth of work perfectly matched our expertise.

With over 25 years of experience as a VFX producer, you’ve worked on a wide range of projects, from TV series to feature films. What have been some of your favourite projects to work on, and why?

The Great Gatsby, Mortal Kombat, Hacksaw Ridge, Three Thousand Years of Longing, The Dressmaker, Love Child, Bloom, Ten Pound Poms, plus so many more, there are just so many, it’s hard to pick!

Every project is so different. They all have their own challenges, which always keeps it so interesting.

Recently, we wrapped up shots for The Pope’s Exorcist and Ten Pound Poms and also completed an animated series. Now we’re diving into another international film and high-profile series. The constant flow of projects keeps us busy, and that’s what I absolutely love about our business. There’s never a dull moment, and I thrive on the dynamic nature of our work.

We particularly loved Mortal Kombat (2021). As the Visual Effects Producer on the film what was your experience like working on it and what were some of the most challenging VFX sequences to produce?

It was a great opportunity to work with Chris Godfrey again on MK1! My days were full, continually tracking the script changes and budget, and just the pure adrenalin of shoot and finishing off in post.

Probably the most challenging sequence on MK1 was Nitara’s. The crucial factor was managing the budget down to the last cent, which determined her inclusion in the film. Despite having already filmed plates for the scene, a sudden change in actor and direction called for a pick-up shoot and the completion of intricate shots within a tight deadline. However, these challenges ultimately resulted in another remarkable scene that made it into the film, within the allocated time and budget.

What sets SLATEVFX apart? What do you love about your team and working at SLATEVFX?

I just love the fact that SLATEVFX is 100% Australian-owned. Founded by myself, Bryn Farrelly and David Booth, our initial objective was to develop a facility that was unlike the other VFX facilities, taking a team of talented artists who are not afraid to put their skills to the test and multitask when necessary.

“We’re a team that looks outside the square and is nimble in approach. With the ability to handle multiple projects simultaneously, ranging from films to series, we excel at delivering exceptional VFX shots within schedule and budget constraints.”

As we enter our eighth year in the industry, it’s a perfect time to reflect on the thousands of shots we’ve produced for numerous feature films and series. It’s clear that we have embraced and thrived on the challenges that each project has presented. As the main vendor of Hacksaw Ridge producing the entire battlefields and extensions with so much blood and gore, to the fantastical world of Legends of Monkey, then to the seamless shots in Three Thousand Years of Longing, Bloom, The Dressmaker etc. Our work is just so diverse.  

We thrive on close collaboration with VFX Supervisors, Producers, and Directors, constantly pushing for perfection in both creative and technical aspects. Whether it’s meticulously crafting a small animated character or undertaking a large-scale rebuild that goes unnoticed to the eye, our focus is always on delivering exceptional visual imagery for all our clients.

Can you tell us more about the training opportunities that SLATEVFX offers to aspiring VFX artists?

As the first VFX company in NSW to offer a TAFE Internship to a high school graduate, we believe we are well-placed to offer opportunities to aspiring VFX artists. We have a regular graduate intake and currently have trainees in our team. The nature of the work we do means that trainees are able to gain a rounded experience of all areas of the VFX pipeline which allows them to identify areas of speciality, yet they have a well-rounded understanding of each step in the process. Work is always interesting at Slate.

What are some of the most important lessons you’ve learned over the course of your career?

In both VFX producing and running a business it’s important to stay open-minded and at least one step ahead of the game. Be across the changes and costs, it’s what everyone wants from you all at once.  

Stay chilled, don’t stress!, but most importantly try and have a balanced work and family life. Stay healthy!!!  

What do you get up to in your free time?

I love to bake cakes, I love to garden and I just love walking my two crazy golden retrievers, Riley and Charlie. 

My family and fur babies are everything to me. I love spending time with them and whenever I have time I just love to bake a cake that not only looks great but tastes amazing, which I can then share with my family.  

Whilst I am probably not the greatest gardener, I love time in the garden. I love to be barefoot and have my hands in the dirt. It somehow just grounds me!

What is something you love about living in Sydney?

I have lived in Sydney all my life. 
I love being able to walk around the foreshore of the harbour with my family and fur babies. 
I love the fact I can grab a great coffee at any time of the day, and then in the evenings I just love the opportunity to be able to chill out and enjoy a glass of wine with my husband and unwind.

Nothing better.