Striving for Perfection: The Ever-Evolving World of VFX Production with Alasdair Patrick

After starting out at ETC as a runner and rising to senior producer, Alasdair Patrick joined ELMNTL in March 2024 as senior producer. He became executive producer in January 2025.

Alasdair has produced multiple award-winning campaigns across the UK and globally at both ETC and ELMNTL, as well as collaborated with leading directors including Adam Berg, Ian Pons Jewell, and Man vs Machine, and top agencies such as BBH, Uncommon, and Arnold. Outside of work he is a big sports fan and supporter of Scottish side Celtic FC.

Below Alasdair chats with LBB about his early fascination of the magic of VFX as he reflects on the valuable lessons learnt as as runner while at Electric Theatre Collective and looks back on his best work after almost 10 years in the industry

LBB> What first attracted you to production – and has it been an industry you’ve always worked in or did you come to it from another area?

Alasdair> As a teenager, I had dreams of becoming a golfer – a dream I fell MILES short of!

My eldest brother worked at The Mill, and I was always fascinated by the magic of VFX – how you could take raw footage and transform it into something so much more extraordinary. Following university I knew that VFX was something I wanted to try my arm at, luckily I fell in love with it quickly and it stuck.

The mix of creativity and problem-solving really hooked me, and I quickly realised how sociable producing can be – getting to collaborate with so many talented people and meeting like-minded individuals every day is one of the best parts of the job.

LBB> What was your first role in the production world and how did this experience influence how you think about production and how you grew your career?

Alasdair> Like most people getting into the industry, I started as a runner straight from university, at Electric Theatre Collective.

This gave me the opportunity to see all aspects of a post house up close. Quickly, I realised (and my art teacher from school will confirm) that I was way more suited to being a producer than being an artist.

Being a runner was the best possible start to my career and I would encourage anyone getting into the industry to do their time. It gave me the opportunity to meet some of the best talent in the industry and pick their brains until the cows came home!

I was able to get a glimpse of how the VFX process is run from the inside out. From when a script reaches a producer's inbox to shadowing the transfer ops whilst delivering a project for TV. This made me appreciate everyone's roles in the business and how important they all are to make the process run like a well oiled machine.

LBB> How did you learn to be a producer?

Alasdair> Trial by fire at ETC, surrounded by brilliant VFX HOD/producers and artists who were open to answering the silliest of questions.

I continued to learn by shadowing experienced producers managing the delicate balance between internal creative ambition, client demands, budgets and schedules.

When I joined ELMNTL as a senior producer, I quickly adapted to a more entrepreneurial environment, wearing multiple hats and taking on greater responsibility across the wider business.

LBB> What’s your favourite thing about production and why?

Alasdair> I love the fact that VFX within advertising is different every day. I am often working on multiple projects, meeting new clients, artists and peers who all bring a different approach to work.

Arguably, my favourite moment is seeing the shot come together – when the artist adds that final touch and suddenly what initially seemed impossible, becomes reality. Being in the trenches of a delivery with the whole team moving in the same direction to reach a goal is super satisfying. Seeing the final result on screen is something I am always proud of.

I enjoy coordinating incredibly talented teams of artists, when everyone is contributing their expertise to create something no one could achieve alone. Every project presents new creative and technical challenges that keep the work exciting.

LBB> How has production changed since you started your career?

Alasdair> The biggest thing I have noticed since joining the industry is that technology has evolved dramatically. For example, cloud rendering, real-time engines and the hot topic at the moment, AI-assisted workflows.

From a more human perspective, budgets seem to have reduced for the same creative ideas and turnaround times seem to have compressed massively; clients often expect what used to take weeks to happen in days!

Remote collaboration tools have completely changed how teams work together. I am a firm believer that the best work gets done when you are in the suite together, as a team, but can also see the huge positives that come from being able to work from home on occasion – getting on top of the washing on a Friday afternoon while still juggling schedules, budgets and deliveries.

LBB> And what has stayed the same?

Alasdair> The strive for perfection will never change. That’s what keeps things evolving and the level of work we are seeing on our screens (certainly VFX wise) improving year on year.

The fundamental challenge of managing creative ambition, iterations and meeting deadlines has not changed. Artists still need time to craft their work, clients still want creative choices to react to, and directors still have that ‘one more tweak’.

LBB> What do you think is the key to being an effective producer – and is it something that’s innate or something that can be learned?

Alasdair> For me, being an effective producer starts with clear communication – letting artists know exactly what the workload, feedback, and timelines look like, while taking on board when they say they need a certain amount of time to deliver their best work. A good producer should act as a shield for the artists, enabling them to create great work, not adding unnecessary pressure.

Transparency between all parties is equally important. You need to speak the language of both the artists and the clients to make sure everyone understands the goals and what is achievable.

Finally, having a solid understanding of the VFX technical pipeline is crucial – it allows me to anticipate challenges, support the team effectively, and keep the project moving smoothly without compromising quality.

LBB> Which production project from across your career are you most proud of and why?

Alasdair> Although it’s cliché, one of my proudest projects was the first one I ever produced. It was for The AA, directed by Big Red Button and Adam & Eve. I was completely out of my depth, but somehow it all came together (with only a few road bumps).

Since then, I have been lucky enough to work with some of the best talent in the industry, winning multiple awards at both ETC and ELMNTL, and I’m excited to hopefully add more to the list in the future.

LBB> And in terms of recent work, which projects have you found to be particularly exciting or have presented particularly interesting production challenges?

Alasdair> The recent De Beers campaign we completed at ELMNTL with Arnold and Partizan, and was a wicked one to be a part of. The project was called ‘Desert Diamonds’ and spread from a beautifully shot TV edit directed by Matt Baron. We then followed this up by creating a raft of OOH visuals including an animated 3D Billboard for Times Square NYC.

We also built some incredible visuals for the launch event which were projected on the walls and floor of Artechouse. I had the amazing opportunity to fly out and attend the event, which was filled with A-list celebs…and me.

This project really showed the strength of the ELMNTL team across grade, 2D, CGI and motion graphics, often working into the early hours. The combination of a great creative idea, director and agency, meant everyone was motivated and aligned to execute all aspects to the highest standard.

Apologies to the transfer team who had to QC 219 deliverables though!

LBB> What are your personal ambitions or aspirations as a producer?

Alasdair> Minus winning the Champions League with Celtic, I want to help establish ELMNTL as the go-to boutique VFX studio in London and beyond – the place clients come when they want innovative solutions but with a personal touch you may not be able to get at the larger post-houses.

I'm also passionate about helping develop VFX producers who will pave the way for the future of advertising. After attending the Young Arrows a couple of weeks back, it’s safe to say that my help may not be needed though!

LBB> As a producer your brain must have a neverending ’to do’ list. How do you switch off? What do you do to relax?

Alasdair> We all know in our industry, and especially producers who are only a phone call away, it can be difficult to fully switch off from work.

I’ll admit, switching off hasn’t always been my strong suit – it’s easy to let projects or client contact spill into every hour of the day. I’ve learnt (and continue to learn) that setting strict boundaries is essential, even if it’s just an hour away from my phone.

That being said, I am a huge sports fan so any chance for a round of golf or watching football at the pub, I’ll take it!

LBB> Producers are problem solvers. What personally fuels your curiosity and drive?

Alasdair> I think curiosity comes naturally when you work in VFX – every project throws a new challenge my way. I’m constantly fascinated by how technology keeps evolving and how creative teams find fresh ways to tell stories. What really fuels my curiosity, though, is seeing an advert on screen and wondering how it was executed. Even after nearly ten years in the industry, I love watching a campaign go from a scribbled down concept to a master film with seamless VFX. The process never gets old.

LBB> What advice would you give to people who are interested in becoming a producer?

Alasdair> Setting aside the cliché answers, I would always encourage aspiring producers to learn the artist side as best as possible.

You do not need to be an artist, but you need to understand what each department does and how they interact with each other. Spend time in the trenches watching compositors work, understand render times, and learn about colour workflows etc.

The best VFX producers speak the language of both artists and clients.

Contrary to popular belief, there’s more to being a producer than just copy and paste!

LBB> From your experience what are the ingredients for a successful production?

Alasdair> With every project being so different and demanding a variety of skills, it’s difficult to pinpoint exactly what makes each project successful. In my view, something all successful projects have in common often boils down to full transparency between the director, agency, VFX producers, and artists – everyone should know what is happening, when, and why.

When everyone is moving in the same direction toward a shared goal, you can really feel the momentum build, and the camaraderie between everyone can be inspiring.

Of course, productions rarely go exactly to plan. Being able to keep a cool head, stay nimble, and think fast to find solutions is essential to achieving the desired outcome – it’s part of what makes producing so challenging and rewarding.

And let’s be honest, a generous schedule and a healthy budget certainly don’t harm.

LBB> Producers are naturally hands on, they have to be. How do you balance that in the more managerial role of an EP?

Alasdair> Something I am navigating currently is the jump from senior producer to EP, whilst finding the balance within production.

In VFX, you have to stay close enough to the project to understand the technical and creative challenges involved if your client calls, whilst also being able to step back to allow the producer and VFX leads to manage their teams and put their own stamp on things.

Moving into the EP role at ELMNTL meant leaning further into a new business role and being more involved in the wider business strategy, whilst staying connected to the day-to-day production regime. Having such a special core team at ELMNTL has made the transition enjoyable and seamless. Big up!