Juice Talks Shanghai with Pawel Bialowas: Life on set and AI’s impact on VFX
In this chat, Pawel Bialowas, CG Supervisor and on-set supervisor at Juice, a visual effects studio with a branches in Shanghai and Tokyo, shares his insight on the industry’s biggest shifts – AI, remote work headaches, and why “we’ll fix it in post” isn’t always the answer. With nearly 20 years of experience under his belt, he brings a wealth of knowledge and sharp wit to the conversation.
Having started your career as a VFX compositor, and now CG supervisor and onset supervisor at Juice Shanghai how would you describe the evolution of the VFX industry, what major shifts have you observed?
Oh, the industry’s changed a lot—though, from the perspective of someone at the keyboard, it doesn’t always feel like it! Sure, we have new tools, but client expectations have grown just as quickly. And deadlines? Let’s just say they haven’t gotten any friendlier. With AI speeding up workflows and enabling smaller teams to achieve more, it’s tempting to think these tools can handle everything. Sometimes, clients walk in with AI-generated images and assume we can “make it real” just as fast. It’s always fun to explain that while AI can kickstart the creative process, bringing a vision to life still takes collaboration and craftsmanship.
There’s also been a big buzz around shooting on LED stages, especially after series like The Mandalorian. It’s an exciting technology, but it’s not a magic wand. Some projects thrive with it, while others do better with traditional setups. That’s why early conversations with post-production teams are key—they ensure we’re all aligned and can avoid those infamous “fix it in post” moments.
And let’s not forget remote work. It’s been a game-changer post-pandemic, opening up opportunities to collaborate worldwide. Of course, being an on-set supervisor means I sometimes miss the direct interaction of being there in person, but hey, I’m now working on projects from everywhere without leaving my chair—unless it’s to grab coffee.
With all the big shifts you’ve talked about—LED stages, tighter deadlines, and the ‘fix it in post’ mindset—how is AI shaking things up in the mix? From your experience with VFX pipelines, how are these tools changing the game, and which parts of the process are feeling the biggest impact?
By the time this goes live, it’ll probably be outdated—that’s how fast AI evolves. What I’ve seen so far is that AI is brilliant for handling tedious stuff. For instance, we used NukeX’s CopyCat tool to tweak a celebrity’s eye color across 40+ shots. Normally, that’s the kind of task that eats up hours, but this time? We trained the model, hit go, and had time for a coffee.
AI has also been a lifesaver for quick turnarounds, especially with tools that cut render times or upscale footage. But when it comes to creative tasks, it’s more of a brainstorming buddy than a replacement. Sure, it can whip up ideas, but refining those ideas into something truly production-ready? That still takes a human touch.
Oh, and face-swapping tech? We’ve been experimenting with that, too. It’s a whole rabbit hole of possibilities, though if you really want the wildest stories, you’ll have to talk to one of our CG supervisors Piotr Koczan—he’s got some gems.
Your role as an on-set supervisor involves managing both technical and creative aspects. How has technology, in general, enhanced your on-set supervision in recent years? Are there any key tools or techniques that have become indispensable to your workflow?
Technology has made my life on set a lot easier. The advancement of digital cameras and recording formats has allowed us to store more and more data in metadata. Photogrammetry’s another game changer—it’s sped up how we capture on-set assets. Whether it’s a complex weapon prop or something as simple as a tent, we can turn it into a model and use it in matte painting almost instantly.
But my favorite tool? The iPad. I know, I know—it sounds ridiculous, but being able to snap a photo, scribble some notes or a quick sketch, and show it to the director without running back and forth has saved me hours. The latest iPads with LiDAR? Game-changers. It’s like having a pocket-sized Swiss Army knife on set.
Witness cams, like action cams or Theta for HDR capture, have been pretty helpful, especially in tight spaces or when time is short.
AI is often seen as a tool to optimize workflows, but do you see it enhancing the creative side of VFX as well? Are we there yet?
AI is a strange beast. On one hand, it’s incredible for speeding up the brainstorming phase—type a prompt, and voilà, concept art in minutes. On the other hand, the creative process isn’t just about speed. Clients bring their own perspectives, and every piece of feedback pushes us to refine and improve the work. That’s where the magic happens: in the collaboration.
I do feel for concept artists, though. Seeing their unique styles echoed in AI-generated work can’t be easy. It’s a strange time for creativity—AI is shaking things up, but it’s not replacing the heart of what we do. There’s still an irreplaceable human element in crafting a scene, directing the action, and lighting the shot just right. AI might help with the heavy lifting, but it’s not taking over. And honestly? I hope it never does.
Looking forward, where do you see the VFX industry heading in the next few years? How do you think AI will shape the future of VFX production, both on-set and in post-production?
If only I had a crystal ball! AI is moving so fast that each week brings some new “game-changer.” Who knows—maybe one day you’ll type “Tarantino movie with a plot twist,” and voilà, Pulp Fiction 2: Skynet Redemption. But will it actually feel like a Tarantino movie? Probably not.
I think the real future lies in tools that amplify creativity, not replace it. No one gets into this industry because it’s easy; we’re here because we love making things that wow people. If AI ever takes over the joy of creating, I’d rather not stick around for that.
Read the previous ‘Juice Talks’ with Japan Managing Director Michał ‘Mewa’ Dwojak-Hara.