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343

TV Series

Cursed

Freefolk

freefolk.com/film-and-episodic

DESCRIPTION

Set in the Arthurian legendarium, this gritty, fantasy series required vast and varied VFX to create a believable re-imagination of the mythical world.Freefolk, led by VFX Supervisor, Steve Murgatroyd, Head of CG, Harin Hirani, and VFX Executive Producer, Meg Guidon were tasked with creating large scale environments for the Fey Camp, the Weeping Monk and the Convent of Yvoire, along with a fully CG, photoreal fawn, CG set extensions, storm atmospherics, elements and intricate design work for the Fingers of Airimid. Steve Murgatroyd explains the complexities of the Fingers of Airimid, one of the signature VFX designed for the series.

“The Fingers of Airimid appear on the face of Nimue, her mother Lenore as well as other Fey elders. The ‘Fingers’ take two forms: an angry, spiky look and also a magical design that is more leaf-like; the effect is activated when the Fey people are overtaken by the powers of the ‘Hidden’. It took a lot of design work to get the final look locked down but was very worth it, not only were Netflix delighted but it’s already distinctly ‘Cursed’.”Another stand-out sequence created by the Freefolk team is an epic 40 seconds worth of woodland engulfed in flames and burning Moonwing creatures. This inferno takes place when the Weeping Monk sets a Fey Village ablaze, and the environment is designed and modelled entirely in CG. The burning forest behind the blue screen live action of the Weeping Monk character, sees Moonwings falling in flames from the trees, another pleading Moonwing executed on the ground, all amidst a symphony of Houdini simulations of fire, smoke, and embers.

With lockdown taking hold three weeks before Cursed was due to deliver, the entire VFX crew had to relocate to secure working from home set-ups, and despite the global pandemic, still delivered all the shots without delay.VFX Executive Producer, Meg Guidon explains how the team achieved this, “from a technical perspective we’d been preparing for the inevitable for about a month before we were locked down and our brilliant technical team worked hard to set up secure remote working for everyone. It also required remote wrangling and efficient line production skills to ensure the workflow didn’t falter - with a strict routine put in place for dailies and turnaround of notes.We already had a bespoke pipeline to serve the Netflix delivery specifications but soon had a solid remote pipeline in place so we were able to carry on smoothly. This working practice is now set up for whatever the future holds.”

 

Crew

Overall VFX Supervisor: David Houghton Overall VFX Producer: Rebecca Vujanovic Freefolk VFX Supervisor: Steve Murgatroyd

Freefolk VFX Producer: Meg Guidon Freefolk Head of CG: Harin Hirani

 

 

253

Commercials - Animation

Kia Seltos

Heckler

heckler.tv

Crew

Tom CorbettTim JarrickBoris FominMark Chataway

Senior Compositor: Bertrand PolivkaOnline: Brad Smith

 

Software

Maya, Redsift, Houdini, Nuke, Unreal Engine & Flame

342

TV Series

Pennyworth - Freefolk

Freefolk

freefolk.com/film-and-episodic

DESCRIPTION

Freefolk Film & Episodic is delighted to announce their VFX work of over 300 shots on the second series of Pennyworth, a ten-part episodic crime drama produced by Warner Horizon for Starzplay & Epix. A year after the explosive events of last season, 1960's England is now embroiled in a devastating civil war. Alfred Pennyworth (played by Jack Bannon), who previously started working for Bruce Wayne's father (played by Ben Aldridge), is now fighting against a neo-fascist Raven Union threatening to control the entire country. Created by ‘Gotham’ writers Bruno Heller and Danny Cannon, the series is directed by Rob Bailey, Danny Cannon, Jon East and Catherine Morshead. Steve Murgatroyd, Freefolk VFX Supervisor and Meg Guidon, VFX Executive Producer, led the team on this project, working with overall VFX Supervisor, Rob Delicata.Delicata commented on working with Freefolk, “As usual, Steve, Meg and the whole team at Freefolk pulled out all the stops and produced impressive VFX work. I have an ongoing relationship with the guys at Freefolk and know I can rely on them to produce quality VFX from all disciplines.

I’m looking forward to working with them again soon.”Due to the difficulty of working remotely in a Covid world, the first challenge the team had to face was understanding the 'Pennyworth' world. “It was our first experience on this show,” explained Freefolk VFX Supervisor, Steve Murgatroyd. “Therefore getting in step with this look required very good communication.” The driving comp interiors, one of the main Freefolk key sequences, came with a sheer volume of shots and difficulty. “The lack of camera movement made working on the fine hair detail particularly tricky as there was nowhere to hide," revealed Murgatroyd. “We also simulated light flicker as the cars passed through trees as this helped to sell shots where the brightness of the green screen presented a challenge.”

Other important sequences the team had to work on were the Digital Matte Painting shots of the 1960's Pennyworth London cityscape on the skyline. The key here was to balance recognisable landmarks, such as St Pauls and the Post Office Tower with the more industrialised, war-ravaged Pennyworth world.“There were also a number of difficult clean-up shots,” explained Murgatroyd. “Ranging from the removal of light reflection in spectacles and crew reflection in cars to the removal of set lights from a dark and atmospheric forest scene.” According to the team, the most tricky part was to maintain a balance between reduction/removal of the unwanted light source, while keeping the location looking natural and moonlit.

“Continuity was also a challenge in the driving comp’s,” Murgatroyd continued. “We worked to extend, disguise and reuse footage to maximise available backgrounds and solve continuity issues that arose with the background footage selected."Other shot types included set extensions, greenscreen comps, SFX blood, smoke and explosion enhancement, muzzle flashes and bullet hits, screen replacements and TV pullout/raven alliance graphics.

Crew

Overall VFX Supervisor: Rob Delicata

Freefolk VFX Supervisor: Steve Murgatroyd

Freefolk VFX Producer: Meg Guidon

 

 

339

TV Series

The Third Day

IMG, Freefolk, MPC and Rob Delicata

DESCRIPTION

A psychological thriller, from Sky / HBO, The Third Day is a six-part visceral drama and a theatrical event, set on the mysterious British island, Osea, a captivating and distortive world where all is not as it seems. Ivor comments on the complications with such a brief: “In a distortive world we had to create photo-real effects that in reality were impossible, they had to look subtle to fit in with the tone and look of the series.  Many of the shots were quite complex and, in tying in with the symbolism and mythology of the narrative, they had to be created to appear at exactly the right moment to enhance and intensify the dangerously enchanting world, pulling this off was essential to the viewers understanding. 

The VFX had to be subtle and not overpower.  One of the fascinating things about the show is that it is set on Osea island, which is a real island with a causeway, which is only open twice a day, in the Blackwater Estuary, and a good part of the show was shot there. As you can imagine this was quite a logistical problem to solve for the production. We were cut off by the tide just as the protagonists are in the script.”Ivor, along with VFX Producer, Rob Delicata, carefully selected five vendors to work with on the project this, who they knew would be capable of producing the required level of intricate work.The facilities involved were Ivor’s company IMG VFX, with Sally Goldberg as VFX Supervisor, Freefolk, with Steve Murgatroyd as VFX Supervisor, MPC with Oliver Winwood as VFX Supervisor and Lenscare with Sascha Fromeyer supervising, as well as Union.

There was a broad range of shot types involved for all vendors, including environmental work, sky replacements and changing coastlines. The island had to look more remote than it actually is, so VFX modified the horizons.  For the Causeway itself the filming window was narrow due to the tide, so a great deal of work went into matching water levels and getting them to look right for the narrative. 

 

Crew

Overall VFX Supervisor - Ivor MiddletonOverall VFX Producer - Rob DelicataIMG VFX Supervisor - Sally GoldbergFreefolk VFX Supervisor - Steve MurgatroydMPC VFX Supervisor - Oliver Winwood

 

 

273

Music Video

ACDC - Realize

Collider

collider.com.au

DESCRIPTION

Clemens Habicht created a mind-bending music video for AC/DC’s ‘Realize.’ Although they are spread across four different cities around the world, the members of AC/DC were seamlessly stitched together in an electric 360° music video, making it feel like the world's most iconic rock band are performing in the same room.The execution of the film required the team to not only composite the members of the band together, but to do so in a 360° environment, and finally edit the film in a way that is exciting and dramatic to suit one of the world’s most iconic bands.

Crew

Production Company: Collider Lead Compositor: Mitchell Charman 360 Camera Supervisor: Josef Heks

Directors: Clemens Habicht & Josh Cheuse Producer: Renae Begent Commissioner: Bryan Younce Editor: Brad Hurt DOP: Kieran Fowler 360 Production NZ: James Hunter 360 Production US: Christian Cashmir & Emil Gentolizo 360 Production UK: Gavin Elder Colourist: Matt Fezz

Software

Premiere Pro, After Effects, Nuke