RESOLUTION is an Integrated Production and Post Production business with over 25 years experience working with leading brands globally in delivering high quality craft in film production, VFX, CGI & Motion Design, and recently AR/VR and Experiences.
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September 9, 2021 — Comments are off for this post.
Resolution Reel 2021
August 2, 2021 — Comments are off for this post.
90 Days of Change
Our brief was to create a visually driven campaign with a broad palette of mixed-media styles. Happily we worked across live-action, stock footage, animation, motion graphics, CGI, model making, claymation and even puppetry. Our executions were fearless and fast. Frequently, we challenged ourselves to be braver and create work that was different from anything else in the category.
Published by res-admin in VFX
July 20, 2021 — Comments are off for this post.
Nutrish Meal Soups
This beautifully crafted campaign brings together filmed sequences featuring people with a variety of busy lifestyles showcasing the speed of cooking the tasty soup from scratch. We styled the food and filmed in our own studio space, then crafted the edit adding original 2D characters over the next few weeks in After Effects.
To help with the comprehension of cooking time in the 30sec TVC we created an animated graphic device that would overlay the soup cooking on stove top. We filmed in real time in multi-passes and added a clockwise device overhead. Like so many visual effects, it was definitely trickier to pull together than it appears.
While crafting the animated characters our inspired artists built amusing loopable six second social spots that would extend the reach of the campaign and engage audiences across Facebook, Instagram and other platforms.
Published by res-admin in VFX
July 20, 2021 — Comments are off for this post.
Holiday Here This Year
RES have a proud history of working on Tourism campaigns but rarely do we make these for Australians. But this campaign for Tourism Australia by Director Chris Rickett, urges Australians to explore those parts of the country that are especially reliant on international visitors due to the restrictions in place during COVID. The message is a simple one.. and that is taking a longer break is not only good for our personal wellbeing but also for Australia and the many communities and businesses that rely on tourism. So get out there!
Our role was to provide seamless composites in Flame and exquisite Resolve grading to bring each scene to life with a mix of reverence and humour. We tried to show each location in a fresh way that suited Hamish and Zoe’s take on things but also connected this land of many contrasts into one unified moment. We just can’t wait to get out there and see it all.
July 20, 2021 — Comments are off for this post.
Unsung Hero
What a joy to work on this fun campaign for Steggles as they celebrate the ‘Unsung Hero’ of Aussie families. The TVC ignored all the usual advertising heroes — Mums, Dads, cooks and even children — to gratuitously focus on the chicken that brings them together.
Our job was to follow this brief as we graded, composited and added supers and logos in all the wrong places, keeping the comic moments paramount. Enjoy the spot and don’t take any of it too seriously.
July 1, 2021 — Comments are off for this post.
Discovery Garden
This delightful campaign is for Woolworths ever popular Discovery Garden franchise. Our brief was to bring four illustrated insects off the pack and set them free in several idyllic garden locations shot by New Zealand based Director Melanie Bridge. Our animators modelled and rigged the characters using both 2D and 3D techniques then tracked them into each scene to lock them to the live-action camera.
RES provided detailed pre-production advice for the shoot which would include the clever addition of interactive layers for the hedge scene, giving the illusion that the bee actually sped through it and sent leaves flying in all directions. Crafting this special spot to perfection was a fun project for all the team.
Published by res-admin in VFX
March 23, 2021 — Comments are off for this post.
Requiem for a pie
Telling stories in film has always been about making the most out of any given location and then using the best VFX practice to bring the images to life. This has never been more necessary than during the restrictions and limitations we have experienced during COVID.
The challenge laid down for RES from Director Matt Devine and the team at Revolver / Will O’Rourke was how to show ravenous seagulls devouring a delicious meat pie at Sydney Cricket Ground when there are no actual Seagulls at the location.
In reality seagulls could only be enticed a short distance from the coast so we found the perfect patch of grass by the harbour at the botanic gardens and shot the seagulls there against a bluescreen backdrop with strict social distancing guidelines in place.
We recorded all the lens data and camera heights, then filmed with a limited crew at the SCG. Matching the lighting and camera angles we photographed the back-plates then matched in Flame suite adding tracking and lens defocus and flare to bring the final sequences to completion.
Published by res-admin in VFX
March 18, 2021 — Comments are off for this post.
Can Lives Here
This is the second time we’ve been part of CommBank launching their new brand identity, Can Lives Here. It was great to work with Rob Stanton-Cook on this labour of love and we are loving the finished result. Filmed and produced during Sydney’s first lockdown, we did all our VFX and grading work remotely with our teams and the client. Although we deploy an amazing array of technically sophisticated tools to the task, it’s the film's tone that resonates emotion and the VFX work disappears into the background just as we like it to.
March 17, 2021 — Comments are off for this post.
Autumn
Jesse James first worked with RES as an intern a few years ago and so it was a delight to have him back as an accomplished Director and to collaborate with him to bring the VFX and visual narrative to life in this campaign for Domain. Edited by Phil Horn and completed on a tight turnaround and with a small budget, Brilliant Films found one versatile location to shoot all the talent. It was our job to then build on that to complete the illusion with some handy green screen and matte painting wizardry from our resident Flame artist.
Published by res-admin in VFX
February 18, 2021 — Comments are off for this post.
US Sports
RES brought their expertise in VFX supervision and in-camera know-how to the table working with MOFA’s Nick Kelly on location in an epic three day shoot on Pittwater, Sydney. We dropped our sea-sick tablets and found our sea legs shooting just 15 boats that would need to be replicated in Flame to 75 boats in an ambitious wide angle aerial sequence.
“Because time was short we opted for a more traditional path for the VFX approach, multiplying the boats from in-camera footage and additional VFX passes. We used 3D but as a previz tool to work out the best way we would make the high angle drone shot come together, testing the idea before a single boat hit the waves” says Tim Dyroff who looked after the VFX supervision.
RES also fired a few rounds of green flares up into the sky at the end of the spot, and dropped a TAB banner with the help of 3D which gave the client flexibility for last minute content changes and really gives the scene the heightened drama it deserves (pun intended).
August 7, 2020 — Comments are off for this post.
Sunburnt Country
Using Dorothea Mackellar’s evocative poem, ‘My Country’ as the visual inspiration for a new Australian first fresh sourcing policy campaign for Woolworths, Greenhouse tasked Resolution with crafting an online and TV campaign that was a visual homage to Australia from farmland to field.
Tim Dyroff, Creative Director at RES worked with Etienne Ancelet, Editor, crafting the visual journey using spectacular drone and landscape cinematography mixed with more intimate hand held shots, such as a farmer looking skyward as a storm front approaches or mud stained hands brushing off a freshly picked potato.
The VFX are subtle and seamless, incorporating matte painting techniques as well as careful grading and Flame integration, each vignette was purposefully treated to provide a visually cohesive look and mood to the varied landscapes and what was captured on film.
We hope you enjoy the results and keep buying Aussie!
Published by res-user in VFX
August 7, 2020 — Comments are off for this post.
Continental Nutrish Soup
At RES we love getting briefed on projects that are a little kooky and outside of our expected capabilities. Having worked directly with Unilever on a number of successful launch campaigns, we have built a body of work and trust and are often asked to take the shell of an idea and flesh it out into a well executed piece of communication.
Unilever approached RES to help them create an animated commercial for their new Nutrish Soup line from Continental. The client had a high level idea and we helped shape it and bring it to life.
Our Senior Designer Gabriel Souza, took to the task of creating the characters for this animation from rudimentary illustrations on the hero product packs, and then developed the client's story idea of a fun bootcamp workout led by a seriously sanguine chicken. The work was completed in four quick weeks using a traditional frame-by-frame hand drawn technique. Not quite as fast as it takes to make a cup of soup but a good result all the same!
December 3, 2019 — Comments are off for this post.
Picked For Christmas
If Christmas is a time for a little magic, then perhaps this latest piece of CGI creature wizardry for the Woolworths Christmas campaign will make you want to believe. RES were invited to bid on creating a fully photo real Australian Mistletoe bird that would open this stunning TVC, and deliver freshly picked cherries to one of the farm hands in this filmic Christmas narrative.
Working tirelessly in Maya and Yeti, we crafted the superbly detailed CGI model with realistic feathers, providing a pre-viz for each shot as well as on-location VFX supervision to capture the scene lighting and camera data. We even sourced a taxidermied Mistletoe bird for the shoot day to capture the lighting effect on its luminous blue feathers!
Final composites came together in Nuke and Flame, allowing tweaks to the grade, and detailed integration of the bird into each scene, as well as many other sequences in this highly polished TVC. Take a look at 'The Making of' film below...
October 4, 2019 — Comments are off for this post.
‘Fallen’ Prologue Sequence
Bringing to life the incredible etchings of Gustave Dore using cinema graphic technique Resolution won a competitive bid to produce this two-minute prologue for the recently released Scott Hicks Film ‘Fallen’. Rendered in 4K and set to an alluring narrative this is a project outside of the square we’re really proud of.
Published by res-user in VFX
November 23, 2018 — Comments are off for this post.
There’s Always More To Discover
Opening our eyes to discovery is a compelling proposition for film and one that Director Tim Dyroff and the team at RES embraced with passion for Dan Murphy’s latest Cinema, TV and online campaign.
“In a busy four-day shoot schedule, we maximised the cinematic opportunities by shooting with a lighter crew” says Christine Koole EP. “This approach to the production allowed us to get as many setups as possible into our long shoot days and build 5, 10 and 15 second stories for digital with lots of options available”.
Once in post, there were just as many demands, with a tight turnaround required for a pre Christmas release. By taking on the production and post under one roof we had a huge advantage in managing the complex overlapping schedule while maintaining the craft. The Christmas vineyard scene that closes the spot was one of the biggest VFX shots to build before it went to air. Our experienced Nuke artists camera tracked, roto-scoped, comped and relit the entire sequence from location-based VFX plates, meeting the sacred deadline with stunning results.
Published by res-user in VFX
September 19, 2018 — Comments are off for this post.
Crafted Ice-Cream
Nothing’s more satisfying than sinking your teeth into a new brief, especially when that involves launching a new sustainable delicious ice cream for Blue Ribbon. Jokes aside, the campaign involved crafting a Victorian dairy farm made entirely from creamy premium ice cream.
Working in Maya (3D) we modelled the entire world of rolling hills, dairy cows and farm hands then sculpted their surface to look and feel as textural as the ice cream itself. We ‘filmed’ each scene from our detailed storyboard from multiple angles and took the ‘rushes’ into edit, much as we would in a traditional film shoot. This gave us plenty of opportunity to make sure our 30 second brand spot would be a solid base of the other assets the campaign needed such as 10’ and 6 second cutdowns. The campaign also involved building significant digital and print assets as part of the launch including assets for the mega screens at Westfield and various banners and gif sequences. It resulted in a campaign we’re very proud of.
Take a look at the work…
Published by res-user in VFX
August 10, 2018 — Comments are off for this post.
The Trade-chain Experiment
More like a mini doco than a content piece RES created this video about an innovative new app called Trade-chain for Commbank. To tell the complex story of trade in Australia we filmed in two states, edited, graded and animated to craft a filmic story that explains the power of Blockchain and Internet of Things in an accessible way. Take a look at the result.
June 14, 2018 — Comments are off for this post.
Superb Stock
It’s always exciting being part of a product launch, especially when you are briefed to work on the entire campaign including TV, digital and print.
Resolution worked on this beautifully crafted campaign, beginning with a busy one-day location shoot in Sydney’s upper North Shore. We really wanted to bring an authentic, lived in look to the various kitchen set ups the script required and our chosen location, production designer, food stylist and cinematographer delivered a strong fresh look that connected perfectly with the brand.
This 30sec TVC needed to show how vital a great tasting liquid stock is among the many ingredients we use. We met this brief head-on by demonstrating a 'love' of ingredients from the start and ending with our home cook tasting the liquid stock before she adds it to her dish.
While on set filming the TVC’s, we also shot stills for the print campaign that later appeared to promote the product launch across Facebook, Instagram and other platforms. These stills were retouched and treated all under one roof in our studio by our team of talented graders, designers and compositors. We were even asked by our client to design a new end-tag animation for the entire Continental ANZ range!
Published by res-user in VFX
June 10, 2018 — Comments are off for this post.
Wake Up to Sleep
Director Tim Dyroff and a dedicated crew shot for 12 days around Australia from Sydney’s CBD in wind-down to the rugged corners of Tasmania and Western Australia to capture these stunning landscapes by night. Nothing was more important than seizing these nocturnal moments…not even sleep!
Working closely with the amazing team at AJF Partnership Melbourne, Resolution was able to craft this stunning brand campaign under one roof for Forty Winks seamlessly blending cinematography with CGI installations and camera tracked star plates. We also took on all the print photography and cleanups to unify the visual assets and style.
Watch the before and afters reel below to find out more
Published by res-user in VFX
March 9, 2017 — Comments are off for this post.
The Difference Makers
This visually breathtaking piece for Chartered Accountants is a dream job. Working closely with Director Steve Back and JOY Agency, we had the distinct pleasure of creating double exposures of artfully shot portraits blended with man made and natural landscapes. Designed as a recruitment spot for Chartered Accountants it brings an unexpected vision of the profession and possibilities. It was wonderful to have the team in the door, and a truly special project for us at Res.
Published by res-user in VFX
October 19, 2016 — Comments are off for this post.
The Clubhouse Burger
When DDB Sydney approached Res about McDonald's new campaign, we knew it would be something special...special sauce that is. 'The Star of The Clubhouse Burger' may need no introduction, but it certainly needs an entrance. Director, Tim Dyroff, had plenty of fun giving the sauce personality with beautiful illustration, dramatic camera movements and bold visuals. The results? Delicious.
Published by res-user in VFX
June 8, 2016 — Comments are off for this post.
Elevit: Core
This breath-taking piece of live-action, design and animation takes you into the world of an unborn child as it develops over nine months. Directed by Tim Dyroff, who subtly captures the miracle of life unfolding with warmth and a sense of discovery. This project was beautifully realised by our 3D team who used their finesse to create the life like skin textures, fluids and movements of a growing baby. It has been a special opportunity for us to collaborate with Bayer and JWT to take audiences into this unprecedented territory.
May 16, 2016 — Comments are off for this post.
Whatever The Yes
Yes is a word we like, and when we spoke to M&C Saatchi about working with them on this piece for Optus, it was the first word that sprung to mind. M&C were seeking something fresh to kick-off the Yes TV by Fetch launch. We wanted to design illustrations and imagery that not only matched their branding, but stood out from the crowd. We had plenty of fun coming up with playful ways to incorporate dynamic animation inspired by the featured shows, with a world of entertainment.
Published by res-user in VFX
March 3, 2015 — Comments are off for this post.
Brave New World
Published by res-user in VFX
March 2, 2015 — Comments are off for this post.
Fear Less
It’s not often that we are asked to scare our audience. What a pleasure to delve into the darker emotion of FEAR utilising exploding, leaking, and contaminated typographic executions for Shift, Sydney. Fast-paced and beautifully lit, the menacingly abstract renditions are supported by closely mic’d sound effects courtesy of Noise International.
March 1, 2015 — Comments are off for this post.
Barangaroo: Urban Regeneration
A beautifully crafted visualisation of Lend Lease's Barangaroo development, brought to life as an architect's model, seen through the eyes of a young family. This script involved a one day shoot at the construction site with many logistical considerations and extensive VFX augmentation in post. Since a wooden model would need to be absolutely accurate, building it physically for filming would have been expensive and impractical, so we made it in 3D.
February 28, 2015 — Comments are off for this post.
It’s a Long Story
The team worked tirelessly for a solid two months using a mix of live-action, stills photography, 2D & 3D animation, and just about every post trick up our collective sleeve. Bulleit was one of those projects that happen now and again that allow you total creative freedom to explore and create some amazing work. The team heavily invested in the project and were extremely passionate about pulling off something so ambitious.
February 27, 2015 — Comments are off for this post.
The Art of Noise
Directed and animated by Dylan McIntyre, ‘The Art of Noise’ won one of only two silver Cannes Design Lions in 2013. With a VO and over 20 SFX to illustrate, we created a 90 second animation that would directly connect ‘what you hear’ with ‘what you see’. Through custom scripting, McIntyre developed a way to feed soundwaves through pictures. The audio is fed through the linework, distorting the line to reflect the bass or treble.
February 27, 2015 — Comments are off for this post.
Ka-Ching! Pokie Nation
‘Ka-Ching! Pokie Nation’ is a very powerful documentary that screened on the ABC, that lifts the lid on the inner workings of the gaming industry. Working with Director Jane Manning from Looking Glass Pictures and the late Neil Lawrence, Resolution had the complex task of visualising some of the extraordinary statistics and science at play.
Published by res-user in VFX
February 27, 2015 — Comments are off for this post.
SUPERFOODS
Photoplay’s Lucinda Schreiber and Resolution reunite in this playful campaign for Blackmores’ new range of Superfoods Powder via The Monkeys.
The campaign offers fun and smart ways to add an extra nutritional boost to daily meals through the use of Blackmores Superfoods.
Through well-timed editing and augmented stop motion animation, RES was able to bring out the humour and upbeat characteristic of this campaign’s narrative and take it through to completion artfully.
Published by res-user in VFX
Tags: Dylan McIntyre
February 25, 2015 — Comments are off for this post.
History Lesson
Resolution collaborated with JWT Sydney and Collider on this emotive piece for Dove. Directed by Jack Naylor, we worked on this two and a half minute film and TVC campaign to help deliver a 'history lesson' that confronts the self esteem issues faced by our children.
Published by res-user in VFX
February 24, 2015 — Comments are off for this post.
Go Behind the Scenery
For Tourism Tasmania we created an eclectic range of transitional devices, each one taking the viewer effortlessly from one place to the next. There are over 20 VFX shots in this TVC. We joined Director Josh Frizzell on set, ensuring we had everything required for post with minimal interference on the shoot. We pride ourselves on understanding the production process and the need to work swiftly on set.
February 23, 2015 — Comments are off for this post.
Your Finder
Around 20 holiday icons were created in 3D with a simple shaded look. The clean graphic set-up allowed the team to continually bounce between complex and simpler compositions, allowing the viewer to be both teased with the dazzling patterns, while also making sense of the objects unraveling before them. The camera travels forward at a measured pace representing both the idea of travel and ‘smooth sailing’ in the website experience.
February 22, 2015 — Comments are off for this post.
Devil’s Cut
In 2013 this spot for Devil's Cut won one of only three Global Effies. Creating it involved two months of painstakingly detailed 3D design, texturing & animation, that grew in scope as the sophistication of the look for the barrel and hero droplet increased. Devising a wooden barrel that could convincingly twist, without feeling too rubbery was extremely complex, but a great challenge.
February 20, 2015 — Comments are off for this post.
Bom Bom Bom
The three day shoot was shot in an eggshell studio to give a 360º environment providing endless depth. A huge 36 products are advertised across the campaign, each one a mini-commercial in itself. When a product would be difficult to shoot or animate to the beat, Resolution created it in 3D; allowing the freedom to view it from any angle and animate in ways impossible to shoot in camera.
Published by Matt Pratley in VFX
February 19, 2015 — Comments are off for this post.
Air Force 1
February 18, 2015 — Comments are off for this post.
Possibilities
Online, the most played RES commercial ever (so far), this entirely 3D TVC features a wide variety of juxtaposing but complementary typography, design and animation. The type is displayed within some complex 3D environments, and in contrast to that, the elemental fonts are employed against flat backdrops.
Published by res-admin in VFX
February 17, 2015 — Comments are off for this post.
Ryobi Cup: One Day Opening Titles
We were totally buzzed when we got the brief from Fox Sports to shoot the WACA scoreboard and grounds for the Ryobi Cup series. Directed by Tim Dyroff and shot by Geoff Hall ACS in a gruelling one day shoot, we were able to use the actual scoreboard keepers and emerging cricket talent to create a broadcast package that fit the brief to move away from a typical 3D opener.
February 16, 2015 — Comments are off for this post.
175 Years
This has been one of our largest shoots, spanning 9 locations over 6 days. To assist the live action shoot, we set up a 3D/2D suite on-set, so the director and agency could visualize in real time how the virtual environment and Arcade shoppers were working together; taking into account camera angle options, shop windows & doors so that everything came together seamlessly in post.
February 15, 2015 — Comments are off for this post.
Snow
This massive project required simultaneous VFX and offline to build the nuanced cinematic storytelling for director Iain Mackenzie. Tim Dyroff cut and comped many of the shots over several weeks working closely with the agency Draft FCB in Chicago and Sydney. Many of the locations lacked the required snow and yet the VFX sequences fit perfectly with the in-camera ones. A real dream job.
February 14, 2015 — Comments are off for this post.
Overnights
This TVC for Photoplay's Lucinda Schreiber is a wonderfully composited and graded live-action spot with spectacular type treatments designed to bring a light-hearted feel to a less fun situation. Although completed with our usual array of technology we hand animated many of the fonts and designs so they felt old school and fun.
February 13, 2015 — Comments are off for this post.
Audi TT
A wonderful location is only part of the answer when shooting a world class spot; so much is achieved in post and this spot is certainly a testament to that. With massive grading, comping and retouching requirements, this spot was a masterful work of crafting and the incredible finesse RES are renowned for.
February 12, 2015 — Comments are off for this post.
“Nick” & “Beth”
Capturing great performance as a director can be difficult if the scene also requires complex VFX. In this compelling spot that was certainly the case, as we travel back in time to the moment a workplace accident changes everything. The overall outtake is definitely an emotional one. Edit, Grade and VFX all done at RES.
Published by res-admin in VFX
February 11, 2015 — Comments are off for this post.
East West 101
A Silver PromaxBDA Award winner, this dark and emotive promo for acclaimed SBS drama, East West 101 is directed by Tim Dyroff & produced by RES.
Published by res-admin in VFX
February 10, 2015 — Comments are off for this post.
Amarok
We open on a wide shot of a desert landscape and Amarok driving on a dirt track away from camera. The off-road VW Amarok takes us on a journey through the famous Dakar Rally before sliding into a pristine white studio environment. Resolution seamlessly added decals, created set extensions and built an entirely 3D vehicle for its final presentation.
February 10, 2015 — Comments are off for this post.
Baby
Saatchi & Saatchi teamed up with RES to capture the fun of childhood in this delightfully fresh and heart-warming campaign. Origami paper illustrations were animated in stop-motion style and combined with adorable live action babies to create a world of play and magic. Shot in a green-screen studio, RES wrangled 20 babies in a massive one-day shoot.
Published by Matt Pratley in VFX
February 9, 2015 — Comments are off for this post.
Summer
We hit the ball right out of the park on this amazing VFX job for Director Josh Frizzell. Combining bluescreen talent into a seamless 3D bottle was no easy task but the result still amazes. RES provided on-set supervision, grading and over 60 VFX shots to make this epic spot magic.
February 8, 2015 — Comments are off for this post.
Anarchy
This amazing installation for Finch Director Alex Roberts involved building a virtual set for each window of a rundown house in Sydney's Darlinghurst. By wearing special glasses supplied on the night, the public could watch amusing scenarios through each window . We integrated the live-action plates with stunning VFX and clever perspectives to make them feel integrated and entertaining.
February 7, 2015 — Comments are off for this post.
The Block: Sky High
One of a series of titles packages we have completed for The Block, and a real collaboration between 3D and 2D design to bring the paper city and apartment block to life. The show keeps rating its socks off and we're very proud to be involved with such a dynamic and popular franchise.
February 7, 2015 — Comments are off for this post.
Mud
This is a beautifully cinematic spot for director Iain Mackenzie and involved crafting the visual effects and designed elements of type in mud, as we cut the commercial, so the client could fully embrace the Director’s vision. The giant mud canvas was painted in post using photographs of muddy textures Iain shot as stills, before blending into the spot as though it was on location.
February 6, 2015 — Comments are off for this post.
Beautiful Innovation
We worked with BWM to develop a script and treatment that would culminate in the reveal of an impressive floral creation. Director Dylan McIntyre got up close and personal with an array of stunning seasonal flora, resulting in some incredible views of flowers in bloom, rarely seen. Macro photography was used to create a sense of this hidden world, allowing the viewer to focus on the form, textures and colours of the intriguing imagery.
Published by Matt Pratley in VFX
February 5, 2015 — Comments are off for this post.
Pole Dancing Geisha
Showing our wilder side, RES was commisioned to design all of the classic tattoos and great characters that inhabit this TVC and bring them to life in a eye-popping spot for cinema release. We shot the talent in studio and then projected the animation onto a virtual 3D body to achieve the seamless journey and flow the energy drink brief required.
February 4, 2015 — Comments are off for this post.
My Family
The story of an adventure told through a child’s eyes is brought to life through this beautiful animated piece. Characters from the My Family sticker series were created in 3D to take us on the journey, before settling in place on the back of their Kluger windscreen. The photo-real Kluger was built entirely in 3D in a CG studio environment.
February 3, 2015 — Comments are off for this post.
Let’s Talk About Sex
The script called for a helicopter to drop a massive condom onto the Washington Monument; definitely neither easy nor cheap! We knew this spot would work if it felt hand-held and naturalistic so we encouraged the guys to shoot it that way, and then handled all the complex tracking issues it created. The final product has a very authentic viral feel.
February 1, 2015 — Comments are off for this post.
Who Are You?
An oldie but a goodie. This spot was done at a time when everyone was referencing Gnarls Barkley's Crazy. Of course it's fine to reference things, but in the end you want to make something that feels original and true to the product - this is a fine example of that.
January 31, 2015 — Comments are off for this post.
Landmarks
A mammoth amount of archival research went into the re-creation of American landmarks in CG for the launch of the new Lincoln Zephyr. Although CG was used extensively we moved away from an obvious timelapse look to something altogether more painterly and photographic.
January 30, 2015 — Comments are off for this post.
Country Stones: Lizard
Choosing to steer away from a fully animated approach for this spot, Director Tim Dyroff decided to film a real lizard, animating 3D facial movements in post. The VO is a real customer testimonial, and nuances of his facial movements and mannerisms were delicately blended into the animation.
January 29, 2015 — Comments are off for this post.
The ‘Nice to Haves’ and the ‘Must Haves’
This TVC evolved from an exploration into projected imagery onto and around the vehicle, resulting in a modern and impressive visual feast. The car acted as a blank canvas for the projections within a minimalist gallery-like space. As production company and post house, we experimented with real life projections & lighting techniques in order to perfect reflections, refraction & light spill.
Published by res-admin in VFX
January 29, 2015 — Comments are off for this post.
Life Changes
Life changes. Could anything be truer? and what a fun brief to bring to the screen with a heightened sense of 3D photorealism. Harnessing an arsenal of visual effects from flash floods to jumping fish, terry towelling toys and self destructing briefcases. Feast your eyes on the things life throws at you in 30 quick seconds.
Published by res-user in VFX
January 28, 2015 — Comments are off for this post.
Big Bash
To assist the live action shoot, we set up a 3D/2D suite on-set, so both Director and Agency could visualize in real time how the virtual environment and green screen cricket performances were working together. Camera angles, eye lines and correct heights were all pre-planned so that everything came together seamlessly in post.
January 28, 2015 — Comments are off for this post.
Very GC
Using a totally fresh approach to promoting Australia’s Gold Coast, RES was commissioned by M&C Saatchi to illustrate and animate a beautifully contemporary mood piece for print and motion to show the attractions of the region. We pulled a great team of animators together and a both traditional and computed aided technique was melded into one beautifully layered style.
Published by res-user in VFX
January 26, 2015 — Comments are off for this post.
The Only One
This great music video came out as part of the launch of the Australian movie, ‘Hey Hey It’s Esther Blueburger’ for singer Bertie Blackman. Apart from producing the shoot through RES for Director Greg Stern, we came up with another layer of imagined narrative that was tracked into the action, all made out of paper cutouts and chalkboard art.
January 26, 2015 — Comments are off for this post.
Dream A Little Dream
Another marvellous spot mixing the world class cinematography of Iain Mackenzie with Tim Dyroff's artful eye for composition. Shot largely in Canberra the brief required a design treatment that would mix years of archival history with the contemporary range of Mercedes Benz vehicles.
January 25, 2015 — Comments are off for this post.
The Bachelor
Ten’s 2-minute promo for 'The Bachelor’ struck Gold for ‘Best On-Air Program Campaign’ at the 2013 PromaxBDA Awards.
A huge array of VFX shots were created for the promo including photo-real banners that shower down skyscrapers and The Harbour Bridge, and air-born rose petals in every scene. RES were on-set for the 5-day shoot to ensure all the required elements were captured for the vast post requirements.
January 24, 2015 — Comments are off for this post.
Unwins Install
Director Dylan McIntyre was commissioned to document the installation of an unique artwork onto a series of commercial terraces undergoing restoration in The Rocks, Sydney. Mike is an emerging artist with a unique artistic vision for perspective and illusion and Dylan has captured the discourse between Art and Life in Mike's story perfectly.
Published by Matt Pratley in VFX
January 24, 2015 — Comments are off for this post.
Stakeout
They say that truth should never get in the way of a good story, and so it is with this narrative driven 70’s cop duo taking on the bad guys for Riva coffee, for Director Nic Reynolds of Curious Films. Res took on the job of grading, design and title treatments as well as a batch of
VFX clean ups to give this web series its fitting retro look and finish.
January 22, 2015 — Comments are off for this post.
Shift The Way You Move
This spot is a complex and subtle mix of VFX, performance and design work. We provided an on set compositing solution, allowing director David Denneen to check the performance in real time with the client. Being there when crucial decisions were being made was a superb way of getting the right footage 'in the can' rather than ending up with a 'fix it in post' solution.
January 21, 2015 — Comments are off for this post.
History
We were asked by HTC to develop a brief history of the company and their remakable innovations using a warm palette of 2D and 3D techniques and artistry. We developed the concept of a 'notebook of ideas' brought to life with each new page and technological evolution in the company's unique story.
Published by Matt Pratley in VFX
January 20, 2015 — Comments are off for this post.
Kelly Bayer Rosmarin
One of five spots for Commbank that share the vision and capacity of Australia's largest retail bank using its leading managers as talent. We shot in studio and on location then intercut the material with simple and subtle graphic touches to add a branded look.
Published by Matt Pratley in VFX
January 19, 2015 — Comments are off for this post.