July 20, 2021Comments 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, 2021Comments 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.

March 23, 2021Comments 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.

March 18, 2021Comments 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, 2021Comments are off for this post.


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.

February 18, 2021Comments 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).