The visual effects industry has always been a paradox: an engine powering Hollywood’s biggest successes, yet one of the most economically unstable corners of filmmaking. In episode 93 of the CG Pro Podcast, two of the most influential voices in VFX history sat down with Edd Dawson-Taylor to examine how the industry arrived at this moment, what is broken, and what must change.
The guests:
Scott Ross, founder of Digital Domain and former General Manager of ILM
Daniel Lay, better known as VFX Soldier, whose anonymous blog sparked global conversations about VFX labor exploitation
Their stories trace the evolution of an industry that has produced extraordinary technical feats while operating under a business model that has failed workers for decades. Their insights are essential for anyone working in VFX, animation, virtual production, or AI-driven creative technology.
Scott Ross came to VFX through an unconventional path. Before ILM and Digital Domain, he toured as a sound engineer with the Miles Davis band. When he eventually entered post-production and later took the helm at ILM, he discovered a harsh truth:
The most groundbreaking visual effects company in the world was not making money.
Despite creating the imagery that sold tickets worldwide, the people producing that work were not sharing in the rewards. The business model simply didn’t support them.
Ross made multiple attempts to organize VFX companies into a trade body that could negotiate fairer terms with studios. Each effort collapsed due to fear, paranoia, or lack of collective will.
His conclusion was blunt:
VFX companies lack leverage because workers lack leverage. Until that changes, nothing else will.
Daniel Lay entered the industry in 2004 as an artist at Sony Pictures Imageworks. Like many VFX workers, he saw the warning signs early:
high turnover
long unpaid overtime
artists relocating constantly to chase subsidies
no healthcare or benefits
studios collapsing financially
He began researching and anonymously writing about these issues under the name VFX Soldier. The blog became a lightning rod, sometimes controversial, often uncomfortably accurate.
Lay says anonymity allowed him to become a symbol rather than a personality, giving the broader community a voice. And in time, many joined him.
The blog’s influence grew so large that it even appeared in leaked studio emails and contributed to political discussions around film subsidies.
Eventually, Ross and Lay joined forces. One came from the executive world, the other from the trenches. They attempted everything they could:
creating a global trade association
researching countervailing tariffs
exploring legal strategies around tax incentives
Every effort broke down at the same point:
Workers wanted change, but too few were willing to risk their careers to participate.
When Lay secured a law firm to pursue a subsidy-related legal action, the industry needed to raise funds. Almost no one contributed.
Ross summarized the disappointment honestly:
Visual effects workers talked about change but rarely acted on it.
Without participation, even the most promising strategies collapsed.
When asked directly, Ross and Lay offered two different perspectives.
VFX is global.
A union in one country creates a cost imbalance that sends work to cheaper, non-union regions.
Without an international union, local unionization risks accelerating the race to the bottom.
Unions do not need to be global to be effective.
Animation is unionized.
Live-action crews are unionized.
Representation matters more than perfection.
Existing unions already negotiate with studios.
Both agree that the real missing piece is this:
Visual effects has never had official representation at the studio bargaining table.
The Visual Effects Society often receives criticism for failing to advocate for workers.
Ross is direct: he believes the VES avoided confrontation, focused on awards and galas, and discouraged him from pushing for systemic reform.
Lay adds important context:
The VES legally cannot serve as a labor or trade body due to its nonprofit designation.
Even if it wanted to, it could risk losing its charitable status if it took an advocacy role.
This means the VFX industry currently has no trade association, no union, and no formal representation in negotiations with studios.
Both guests agree that AI is a paradox.
AI is advancing rapidly. Many VFX roles, especially in Roto, paint, tracking, and matchmove, will likely be automated.
He estimates that a significant percentage of VFX labor could eventually be replaced.
However, he also sees AI opening new creative opportunities, similar to how digital tools transformed the music industry.
Studios want to use AI but are legally cautious.
Many AI models are trained on copyrighted content, and studios fear litigation.
Legal teams everywhere are watching closely.
Lay also notes that current tools vary significantly in their capabilities. There is promise, but also many limitations.
AI today is not AI six months from now.
The landscape is evolving too quickly to judge its long-term impact.
One message carried through the entire conversation:
The VFX industry cannot continue the way it is.
Whether change comes from:
worker coordination
AI disruption
new business models
international collaboration
economic necessity
Change is inevitable.
Lay summarized it simply:
“Keeping quiet is not working.”
Ross added:
“Visual effects has the power to be the most important marketing force in world cinema. It is time the industry recognized that.”
CG Pro will continue bringing these conversations forward and supporting artists navigating this rapidly changing landscape.
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