2017 - Nominated for "Best Children's TV Series" at the AACTA Awards
2017 - Nominated for "Best Animated Series Production" at the SPA Awards
As VFX / CG Supervisor of the Series it was my responsibility to manage 10 or more different animation and compositing studios across several countries - but primarily in India.
Working closely with the series Director, Andy Collins, and series Producer, Alexia Gates-Foale, I oversaw the realisation of Andy’s vision from storyboards to screen. Optimised to be within the timeframe and commitments negotiated by Alexia.
To maintain standards across so many animation houses, each with their own pipelines, I built an Lighting & Comp Bible which covered everything from main lighting scenarios through to technical information with regards colour workflow and a variety of CG / VFX concerns not just particular to Lighting and comp.
The main lighting scenarios, comp scenarios, CG concerns were broken down into modular briefs and could then be tagged in SHOTGUN thereby giving granular / easy / shot-level control over the lighting and comp brief on each episode.
The top here shows an example of SHOTGUN tags for lighting scenarios.
These were visible to all studios world-wide.
with Pip Francis, Production Manager, in ‘Jacko’ crew T-shirts..
Comp and Lighting brief - here a simple example discussing the treatment of a comp effect such as ‘pulling focus’ or ‘racking focus’
For some scenes particular attention was paid to lighting the environment reflect a particular character or mood.
In this case 'Cranky’s House’ was held often in deep shadow.
The Lighting and Comp Bible also covered basic comp workflows so that studios whose forte was not compositing could be brought up to speed.