Year End Special Interview – Michael Shelton, VFX Supervisor/CG Supervisor/Lighting Lead, Pixomondo

Year End Special Interview – Michael Shelton, VFX Supervisor/CG Supervisor/Lighting Lead, Pixomondo

December 21, 2019 – With 2019 coming to an end, VFX Online presents a series of Special Interviews that highlight some of the VFX and Animations artists’ favorite works of this past year. These interviews touch on their favorite VFX and Animated shows of 2019, memorable events from the last 12 months and artists’ expectations for 2020 in VFX/Animation.

Michael Shelton has over 25 years of film experience working in special effects, creature effects, make-up effects, animation, lighting, CG, VFX and more.

As one of PXO’s VFX Supervisors at the Los Angeles branch, Michael worked on the feature film Mary Poppins Returns, the HBO TV series Here and Now and the cable network’s upcoming remake of Perry Mason. He was also the overall VFX Supervisor of Season Two of Amazon’s Goliath, where Pixomondo served as the sole VFX facility.

Wearing several hats at Pixomondo, Michael’s CG Supervision includes TV shows like The Orville and the Chinese action film Sky Hunter. He is also the lighting lead on the Apple TV series For All Mankind and Disney Plus’ The Mandalorian.

Today, Michael Shelton talks to VFX Online about his experience about VFX and Animation Industry.

// From Michael Shelton, VFX Supervisor/CG Supervisor/Lighting Lead, Pixomondo

How do you describe yourself professionally?

When I’m asked what I do for a living my response has been the same for nearly 30 years- I make monsters! Having started my journey in make up and creature effects this description held true for many years and I still feel like it fits.

What sparked your interest in visual effects?

Seeing Empire Strikes Back in the movie theaters when I was a kid. I grew up on an Air Force Base in Germany and we were in the States on vacation when Empire was released, which was an unbelievable treat. I was completely blown away by the sequences on Hoth and we were allowed to go to the toy store afterwards and pick something out. I went for the snowspeeder which was outside the price range I was given, so for Christmas that year I asked for one. Much to my delight it arrived, however it immediately didn’t meet my expectations with its scorch mark stickers and pristine plastic. At that young age, for some reason, the lack of realism and detail was apparent. I proceeded to scrub off all the stickers and rub dirt all over the engines. To finish it off I took my mother’s lighter (everyone smoked back then) and put blaster marks and carbon scoring all over my brand new toy. To me, it was finally perfect. To my parents, well you’d have to ask them….

This really kick started my journey of filmmaking and creating to the best of my abilities the worlds I saw in my imagination. To this day I am still that kid.

How did you enter in this industry? What was the key to getting inside?

It was a very different industry when I started. It was many years before we’d rely on digital effects of any kind in a wide spread way. Back then, we split into two camps a) camera people – wizards that gave us optical printing and photographic effects and b) people who made things with their hands out of stuff you found laying around in the shop. In the beginning I fell into the latter as I had been making crude stop motion puppets for my own projects and creature masks.

Plus I knew how to use a broom which I found helpful as I was very young working with people who were far more seasoned and proficient then I was. So I paid my dues, learning all I could until I could retire the broom.

Eventually I found my way working more and more with cameras and learning the ins and outs of shooting miniatures and shooting for effects in general. I was fortunate to work under very knowledgeable and generous people who taught me how to mostly not screw up.

What was your favorite VFX and Animation Film of 2019?

The Lion King, Toy Story 4. Both beautiful, both epic.

What was your favorite VFX and Animation Events/Conferences/Festivals of 2019?

I was chained to my desk for all of 2019 so no events for me.

What do you think will be the evolution of VFX and Animation Industry over the next few years?

AI based effects and processes will become part of our methodology. Wether it be digital humans or automated rotoscoping, we will become more reliant on this technology.

What is your best professional memory or professional experience of 2019?

That’s tough to pick just one as I had a pretty epic 2019 as far as projects are concerned. As an artist I would choose lighting shots for The Mandalorian. That project checked all the boxes for me as an artist and we had a fantastic team on it.

What is your a special achievements or awards for 2019?

Most consecutive days worked without a day off!

How has your experience been working at Pixomondo?

Pixomondo provides me the kind of projects that inspire me and this is my family when I’m away from my family. I enjoy supervising others as much as I enjoy working on the team in support of another supe.

Which film you’re excited to watch in upcoming years?

I’m looking forward to seeing how Star Wars wraps up, and I’m looking forward to the next batch of Avatar and Matrix films.

What are your expectations for 2020?

To be chained to my desk, working on really, really cool things!

What will be your ‘dream project’ to work on?

I would say something that I’m able to contribute to artistically in a meaningful way and to be surrounded by friends. For me it’s less about what the project is and more about the experience of watching the team grow and accomplish goals. There’s something about watching a fellow artist get a shot to fall into place that they’ve been hammering – it just feels so good to the soul!

What advice would you give to someone who wishes to get in to this industry?

Be honest with yourself about your ability level (we can tell immediately ) and be a sponge, absorbing all you can. As with anything in life, there are ups and downs to this industry, but at the end of the day we get to make monsters for a living and what can be better than that?

What is your Holiday Greetings Message for Christmas 2019 and New Year 2020?

Enjoy time with all those who matter in your life. Be good humans.

We would like to thank Michael Shelton for taking the time to talk to us. If you would like to know more about him, check him out on and IMDB.