Film and TV production happens fast. Even a series as blown about by the waves as “Doctor Odyssey” needs to navigate between the Scylla of ocean exteriors and Charybdis of network procedural turnarounds. The visual effects team, led by VFX supervisor Jason Piccioni, has only about a week and a half per episode. So on the midseason two-parter, “Shark Attack,” they needed to be very strategic about when, how, and why we see the titular predators from the deep blue sea.
That…