Friday, February 28, 2020



Dolores McGinley has worked on many prestigious projects for advertising campaigns, TV and feature film clients over the past 23 years. With a degree in graphic design, McGinley started working out on live TV graphics for TG4/RTE in Ireland, which equipped her with the basic skills that would introduce her to this industry, especially learning to work under pressure and deal with constant demands.

“The hours were long, weekends were often written off- but motivation, sheer excitement and constant vision wizardry were enough to know that this was the area I wanted to pursue. I was very fortunate to be the first person to work on Discreet Logic Inferno/Flame in Ireland, when it was fast becoming the industry tool of the big VFX houses in London. I was also one of the only females chasing VFX at this level in Dublin, which, years ago, added to the complexity and demand of the role faced by so many female artists across the spectrum, where proving yourself is never easy. This is something I am delighted to see has since changed, with increasing numbers of fabulous women in key roles.”

When McGinley moved to London in 2002, she worked in many well-known post-production facilities before settling at Technicolor. in 2016, she joined Molinare as its VFX creative director, and recent projects include Giri/Haji, The Crown, Good Omens, Strike Back, and Blinded by the Light.

"To make the Giri/Haji series as artistic as possible, the clients played with the idea of replacing the tested ‘previously on’ segment with more of a storytelling process instead. Strong, symbolic images were chosen to recap the story so far. Each of these stills was then further worked on using paint, ink and fine brush strokes. Sketches were overlaid and ink spill and finished in Photoshop. I often like to use lipstick on textured paper to get thick, coarse, detailed and controlled strokes. These were finished as complete & individual ‘separate artworks’ before being recut back into the edit. Over the entire series, there were approximately 110 stills completed, all hand worked (alongside the talented Aurelien Ronceray). It was a rare yet exciting opportunity to get out brushes and pencils in the technological era!”