Spotlight | VFX Supervisor Sarah Marikar

The Mill welcomes VFX Supervisor Sarah Marikar to our Los Angeles studio. To get to know Sarah, we sat down with her to discuss her journey into VFX, the alluring creative freedom that working in advertising brings, and her impressive portfolio which spans CGI heavy blockbusters to award-winning dramas.
Community June 22, 2022

Tell us a bit about yourself, how did you get into the world of VFX? 

I knew I was interested in the visual aspect of filmmaking, and initially thought that meant I should be a cinematographer, so I started in the industry on set as a lighting technician for independent films with the goal of eventually being a DP. When I realized that wasn’t what I wanted to do, my network from working in lighting brought me to VFX— a gaffer friend of mine introduced me to a director/VFX supervisor who was looking for an assistant. He taught me the basics of VFX and brought me onto some of my first VFX projects as both a production coordinator and rotopaint artist.  


What are some of your favourite projects that you’ve worked on throughout your career? 

One of my first projects in VFX was Beasts of the Southern Wild. It won the Sundance Grand Jury prize that year. It was a really special film to be a part of, and a great entry into the VFX industry for me.  

In 2016 I had the opportunity to go to Singapore to oversee the installation of Annie Leibovitz’s “Women: New Portraits,” which was displayed on a set of LED video walls. I’m always excited to take skills from one thing I’ve done and apply them in a different way to another project. This project wasn’t VFX supervision per se, but it called on my skills from both my on-set experience and post-production experience. 

I was part of the team that de-aged Nick Fury by 25 years for Captain Marvel. It was one of the more ambitious de-aging projects at the time, with more than 500 shots altogether, so it was an exciting challenge. 

What brought you to the world of advertising?   

My first job in LA (after moving here from New York) was at a boutique VFX company that primarily worked on commercials. Up to that point, most of my VFX experience had been on independent films. What kept me coming back to advertising was the ability to work on a wide range of creative projects in a short amount of time because of the fast-paced nature of commercial work. I love the amount of variety in the work we do, especially here at The Mill. As a Flame artist in advertising, I also enjoy having the opportunity to work directly with clients and solve creative challenges on the fly in a session. 


What advice would you give to your younger self?  

During the pandemic, I’ve been able to make more time for myself outside of work. I started practicing yoga almost every day, got outside every day for some fresh air and sunshine, and was home for dinner with my family every night. I would tell my younger self to make time for those things sooner. It’s brought a lot more balance to my life, and it’s made me a better and more focused artist.  


What is inspiring you at the moment? 

I’m a new mom, so lately I’ve been inspired by my fellow parents in VFX, especially here at The Mill. It’s been a big adjustment coming back from maternity leave, but being on such a talented team with so many other parents is giving me confidence as I learn to balance being a parent and VFX supervisor.  

Interested in working with our talented VFX team? You can get in touch regarding your upcoming project via our contact page.