With VFX producer Charlie McClellan at the helm, I supervised the visual effects and VFX art director Nick Cattell made them look amazing. Writer/director Glen Standring’s distinctive and beautiful vampire film was shot on FUJI film by cinematographer Leon Narbey, whose skill and artistry inspired all of us to do better.
Combining miniatures and matte paintings, (no bluescreen allowed) this project was a great collaboration between VFX and production as we headed off post headaches with intelligent solutions on set. Working fast with video-split footage, we delivered bash versions of VFX shots to editorial within a day of shooting.
An amazing effort from Fiona Webb and DigiPost in Auckland managed to complete the huge workload; I delivered the final VFX shot to the colour grading suite at MPC in London on the very last day of post. (I’d rendered it on a laptop in my apartment the night before.)