Once a scene has been shot by the animators it gets passed over to the post production team, primarily to the Editor who puts it on the time line and thats it, Done!

Well… No… not for the majority of the 1800 or so shots that go into Strike! 

The next job is De-rigging. Here we painstakingly remove the rig or rigs that the animators use to move the characters and any shadows that they cast from the shot. We had an ever expanding team of “De-riggers” coming and going but top De-rigger was Raquel who got through well over 200 shots including all the really tricky ones that no one else wanted to do.

From there just over 800 shots required more work. There was smokes, steams, gasses, dusts and explosions. Rain, puddles, lights and fireworks. Complete crowds to be added to football stadiums and complete football stadiums to be added to crowds. 3D modelling, compositing, set extensions and Matte paintings. A digitally generated pool that was added on to the in camera footage with splashes and flying fish. A car chase, glowing rings, runaway earth movers and a special powers, mole eye, through the rocks view sequence.

In addition there’s a load of little tiding up, “fix in Post” jobs that had to be sorted. One of the team even had to digitally re-attach an eye that had popped out during animation with being noticed.

I’m incredibly proud of the work the Post Production team got through on this project, working massively long hours to very tight deadlines while maintaining a great attitude and sense of humour though out all on a daily diet of chocolate buttons from Trevor.

Check out the VFX reel below!

Andrew Langworthy

Post Production Department

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