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.
Click above to see our latest reel.
September 9, 2021 — Comments are off for this post.
Resolution Reel 2021
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
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
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
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 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 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 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 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 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.
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 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.
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 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 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.
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 19, 2015 — Comments are off for this post.