Vine FX’s underwater world on The Rig season two

Cambridge-based VFX studio, Vine FX, delivered 115 shots for the climactic sequence for Prime Video’s The Rig series two.

When an ancient parasite was let loose on the ocean floor, the crew in The Rig season one found themselves in dire peril. Fast forward to the newly released season two and the audience is in for more suspense, betrayal, and terrifying consequences – all culminating in a cliff-hanger that had the team at Vine FX growing mycelium trees in their quest to create an underwater alien world.

The Rig has been one of the most rewarding projects for us to work on. Season one was an instant hit, and season two has pushed the boundaries for the show, which gave us ample opportunity to create something incredible.

Kaitlyn Beattie, VFX Producer at Vine FX

Growing a mycelium forest

Among the stand out shots from the finale of The Rig season two is a sprawling, living mycelium forest, its canopy looming 400 metres above the seabed. These parasitic trees weren’t merely decorative – they needed to glow, evoke an emotional response from the characters, and add layers of depth to the underwater ecosystem.

Vine FX began with concept art created by Scott McInnes, capturing the forest’s vibrant and organic forms. Moving from concept to full CG representation was no mean feat, however. The scale and density of these mycelium structures pushed the team to use simulation techniques to grow the structures in an organic way, all while establishing a new USD (Universal Scene Description) pipeline to handle the volume and complexity of the assets.

This was a long process. We created several tree designs which we could then instance and propagate the scene with. The great thing about procedural growth simulations like these is that they look different from any angle, so by carefully rotating and placing assets we were able to build a dense forest with no repetitions. We recruited the largest CG team we’ve ever had just to work on this project.

Pedrom Dadgostar, Head of 3D at Vine FX

The team’s approach to procedural textures and lighting provided the trees with an ethereal, bioluminescent quality that further enhanced the underwater environment. Using Houdini’s Solaris, the trunks were equipped with internal illumination through mesh lights, which added a ghostly, otherworldly presence.

An underwater world

On top of generating an entire forest of alien, parasitic trees, Vine FX needed to build an entire underwater world, augmenting live action shots with CG and 2D assets to create a sense of being beneath the waves.

That meant slow movements, particulates, and depth. Bringing together environment extensions and mycelium trees was important, but those smaller – and at times hidden – details are just as important.

Light plays a critical role in defining space and scale. We carefully placed floating particulates that helped establish that sense, leading into darkness throughout the environment and around the trees. The idea was to envelop the characters in an expansive, claustrophobic world.

Pedrom Dadgostar, Head of 3D at Vine FX

When the characters interact with the parasite, we had to make sure the light from it reflected off their suits and any other elements. The visual representation of being underwater and interacting with a decaying organism was shown by the floating particulates seen throughout the episode.

Ole Aleksander Norby, Compositing Supervisor at Vine FX

Compositing artists ensured that the trees and their bioluminescent glow meshed seamlessly with the live-action footage. While Vine FX was tasked with creating a mostly CG environment, the comp team worked closely with the client to establish a look that met evolving creative preferences, from light intensities to colour grading.

Turning to USD

Work on The Rig was completed in USD, which brings incredible flexibility to delivering the shots. Vine FX built an entirely new USD pipeline as work progressed on the show, refining to suit not only the project but the entire studio.

The new USD pipeline streamlined the process. It allowed us to manage the integration of assets across shots and maintain consistency throughout the sequence as a whole.

Pedrom Dadgostar, Head of 3D at Vine FX

With USD’s efficient handling of multi-shot workflows, the new pipeline enabled a unified environment that could be rendered across shots without extensive re-rendering, ultimately saving time while delivering high-quality visuals.

For more information, visit vinefx.com. See the VFX breakdown reel below.

The Yard VFX becomes a proud member of UK Screen Alliance

UK Screen Alliance is proud to announce that The Yard VFX, an independent studio specializing in visual effects for films and series, has joined our membership.

In keeping with the opening of The Yard’s London branch – headed by Ben Owen – this milestone marks its commitment to contributing to and collaborating with the thriving creative industries in the UK. By joining UK Screen Alliance, The Yard becomes part of an influential community dedicated to promoting industry growth, innovation, and recognition on a global scale.

For the past twenty years, the UK Screen Alliance has played a critical role, championing initiatives that have driven tangible improvements in the sector. Notably, our association’s successful campaign to enhance screen sector incentives has ensured that the UK visual effects sector can flourish by attracting productions and achieve its full potential for growth.

Joining UK Screen Alliance underscores our strategy to align with partners that are genuinely advocating for the betterment of the UK’s VFX industry and its entire ecosystem. Their advocacy and recent successes, particularly in securing a more attractive incentive structure, are perfectly aligned with our vision to expand in markets rich with talent and opportunity. We are looking forward to collaborating with other members to advance the screen sector.

Laurens Ehrmann, Founder and Senior VFX Supervisor at The Yard

The new uplift to the VFX incentive and the excellent skills base in the UK, makes it an attractive place for international companies to invest, with all the right conditions for growth. We look forward to The Yard participating in our meetings and events, bringing their own unique perspective and expertise.

Neil Hatton, CEO of UK Screen Alliance

As a member, The Yard will have the opportunity to engage in shaping policy discussions, networking with industry leaders, and accessing resources and training that will further enhance the company’s services and impact. With a proven track record of excellence, The Yard has crafted VFX for major international productions, including The Rings of Power – Season 2 (Prime Video), Halo – Season 2 (Paramount+), the Emmy-nominated and HPA-winner All The Light We Cannot See (Netflix), John Wick: Chapter 4 (Lionsgate), and Indiana Jones and the Dial of Destiny (Disney).

Through the establishment of its presence in the UK, The Yard seeks to solidify its position as a global leader in VFX all while fostering local talent and actively engaging with the UK’s dynamic cinema and audiovisual industry.

We are eager to apply our experience in building a vibrant, collaborative, and inclusive environment where ambitious projects and exceptional talent can thrive.

Laurens Ehrmann, Founder and Senior VFX Supervisor at The Yard

Milk appoints Roo Knight-Jones as Business Development Director

The award-winning VFX studio has appointed Roo Knight-Jones as Business Development Director.

Milk has announced that Roo Knight-Jones has been appointed as Business Development Director to lead and grow the business development team across the Group’s studios in London and Europe. Roo will be instrumental in securing new business and developing stronger strategic relationships with clients across the industry for the Group’s two distinct and established brands: Milk VFX and Lola Post Production.

Roo’s VFX career spans over a decade and includes serving most recently as Executive Producer, where he oversaw sequences for Amazon’s The Boys and Rings of Power and Warner Brother’s Mission Impossible: Dead Reckoning. Before that, he worked as a VFX Development Executive, and spent five years with Milk as a VFX producer overseeing projects including Everybody’s Talking about Jamie (Fox), The Old Guard (Skydance/Netflix) and Four Kids and It (Sky).

I’m thrilled to join the talented team at Milk VFX during such a transformative time for our industry. Milk has a proud tradition of fostering top-tier talent, and its people are the driving force behind its success. I’m excited to contribute to ensuring Milk remains a leading VFX partner of choice.

Roo Knight-Jones, Business Development Director at Milk

We are delighted to have Roo return to our team in this new role to lead our market engagement and support our production partners in all stages of project development and production. With studios in London, Bordeaux, Barcelona, and Dublin, Milk enables our partners to access the recently increased UK, and broader European, incentives. . His enthusiasm, drive, and connections will be key in expanding and strengthening our relationships and helping us realise our vision of building a trusted distinctive independent VFX business of scale, with a boutique mentality.

Chris Burn, Managing Director at Milk

Escape Studios announces Escapeverse Live

A new era for The VFX Festival, Escapeverse Live showcases the best of the screen industries, from visual effects through to animation and games.

Escape Studios, one of the UK’s leading animation, games and VFX schools, has announced a new virtual event, Escapeverse Live. Taking place online between 24^th and 27^th February 2025, Escapeverse Live is a fresh chapter in the legacy of The VFX Festival, offering a virtual gateway to valuable insights, careers advice and industry knowledge.

Hosted by Escape Studios, and with a new online format spanning across four days, Escapeverse Live will bring together audiences from around the world, giving them unparalleled access to top industry leaders and engaging panels, alongside unique networking opportunities for new graduates and young professionals.

Attendees will gain insider perspectives on award-winning productions and groundbreaking projects from industry experts, including:

• Debbie Ross, Executive Producer, Producer and Co-Founder of Hydra Studios
• Roberto Geroli, Core Technology Director of Creative Assembly
• Kiril Jakimov, Real-time VFX Artist at Playground Games
• Noélie Prost, Senior Game Designer at Creative Assembly
• Hayden Jones, Visual Effects Supervisor at Industrial Light & Magic
• David Dunn, VFX Supervisor, and Sam Dubery, VFX Producer at BlueBolt
• Amy Ash, Freelance Character Supervisor, Art Director and Vis Dev Concept Sculptor (Love, Death and Robots, Tales of Runeterra, Diablo Immortal)
• Adam Dewhirst, Freelance Lead Modeller (Tenet, Lord of the Rings: Rings of Power, The Dark Knight, World War Z, Guardians of the Galaxy)  

The VFX Festival has always been a cornerstone of our calendar. As Escape Studios has grown from being a specialist in VFX to an international hub for animation, games, immersive experiences and creative technology, it was time for the festival to evolve. Escapeverse Live marks a new chapter that celebrates creativity, innovation and collaboration on a global scale.”=

Professor Ian Palmer, Principal of Escape Studios

Escapeverse Live is free to attend and will be held entirely online between 24^th and 27^th February 2025, making it accessible to aspiring and established creatives worldwide. Further details, including the full agenda and ticket registration, are available here.

Digital Orchard celebrate milestone: over 10 million feet of film scanned

The leading specialist in end-to-end film workflow services has announced a remarkable achievement, with their team now hitting over 10 million feet of motion picture film scanned at their location at Kodak in Pinewood Studios.

This milestone underscores the resurgent vitality of film in contemporary filmmaking and highlights the unparalleled expertise the company brings to the industry. Digital Orchard has seen an increase in demand for film services, driven by the ongoing revival of analogue filmmaking. Since joining forces with Kodak Film Lab London back in 2019, both companies have provided seamless film processing and scanning services that combine state-of-the-art technology with meticulous craftsmanship.

This is a proud moment for us, reaching 10 million feet is a testament to the enduring legacy of film as a medium and the trust our clients place in us. We’ve enjoyed every second of collaboration with Kodak and hope to continue to deliver the highest standards of quality to filmmakers.

Dan Redrup, Head of Scanning at Digital Orchard

The Digital Orchard and Kodak partnership has supported a diverse range of projects, from critically acclaimed blockbusters to independent art films, demonstrating a shared commitment to preserving the artistry and authenticity of storytelling on film.

Kodak is thrilled to recognise this milestone for Digital Orchard and look forward to the continued support they provide filmmakers. Kodak continues to drive investment and growth into our labs both in the UK and US and offer photochemical excellence for productions from across the world.

Antonio Rasura, Director of Motion Picture Labs Kodak

As the industry continues to evolve, Digital Orchard remains committed to expanding their offerings and setting new benchmarks in film scanning excellence. Alongside Kodak, they look forward to serving filmmakers who are passionate about the unique impact of celluloid for years to come.

Registration opens for largest edition of the Media Production and Technology Show

The UK’s authoritative event for the broadcast media, production and technology industry returns in 2025 with an expanded programme of content, an interactive exhibition showcasing the hottest industry products and exclusive networking opportunities.

MPTS (Media Production & Technology Show) has announced that registration is now live for the 2025 show, which returns to Olympia London from 14-15 May bigger and better than ever. Now taking place across two levels within the Grand Hall, the UK’s premier event for the broadcast media, production and technology industry introduces an exciting new AI Media Zone, an all-new Broadcast Sport Zone and additional space to network with colleagues and peers, alongside another packed seminar programme supported by SMPTE, BAFTA albert and the cream of creative talent.

Following a record-breaking year in 2024, MPTS 2025 is set to host 300 exhibitors and sponsors, 100 live sessions and 12,000 attendees from 52 different countries. MPTS invites professionals from across Europe and around the world to discover, inform and engage with the hottest trends and up-to-the-moment technologies in production, audio, post, sports broadcasting and virtual filmmaking, while connecting with some of the most inspiring practitioners in the business.

Visitor registration is now open for MPTS 2025 at: https://www.mediaproductionshow.com/registration 

Visitors will find an expanded gallery level offers additional networking areas and more space for The Media Technology Conference, which returns for the second year running, in partnership with SMPTE. Debuting for 2025 is a Broadcast Sport Zone featuring exhibitors and networking dedicated to live sports. There will also be sessions focused on sports content production running throughout the seminar programme. Also new this year is an AI Media Zone featuring a dedicated theatre, exhibition area with stands and demo pods and a sponsor lounge for networking, ensuring attendees have the insights and contacts they need to stay ahead of this rapidly evolving technology. 

We can’t wait to bring the industry the event this year, which with the many new features we’re bringing to the show floor will be bigger and better than ever! MPTS is the authoritative destination for creatives and technologists to unite and share in the future of the UK’s media and entertainment industry, accessible to all as registration and our leading content programme remain free. Not only can we deliver more vital content that digs under the headlines this year but we have more space for meetings, discussions and chance creative connections which, for all the AI in the world, is what the industry thrives on.

Charlotte Wheeler, Director of MPTS

MPTS will also host many new exhibitors for 2025 including Dizplai, Lenovo, RED, Telos Alliance and Yamaha. Making a return to the show floor, MPTS is pleased to welcome back Blackmagic Design, Editshare, HP, Iron Mountain Media & Archive Services, LucidLink, Nikon, Scan, Shure and Videndum, to name just a few.

Alongside the interactive exhibition, visitors can access over 100+ hours of exclusive and free-to-attend sessions across eight themed theatres including Keynote, Production, Broadcast Technology, Post Production, Virtual Production, Audio, AI and the Media Technology Conference. This year, the Media Technology Conference will be open to all attendees to cultivate conversation and cross industry cooperation among M&E’s technology community. BAFTA albert also returns to the show floor to highlight the vital importance of sustainability including dedicated sessions throughout the programme.

Further details about MPTS 2025 will be revealed in the coming weeks and all information can be found at www.mediaproductionshow.com.   

UK visual effects tax relief uplift comes into effect on New Year’s Day

From today (1 January 2025), an increased rate of tax relief is now available for visual effects expenditure in the UK.

UK Screen Alliance have long campaigned for a significant improvement in the screen sector incentives to allow the UK’s visual effects (VFX) sector to flourish and achieve its full potential for growth. VFX spending in the UK now attracts a net rebate of 29.25%, and is exempt from the overall 80% cap on spending eligible for the Audio Visual Expenditure Credit (AVEC) – the current tax system for film, high-end TV, children’s TV and animation.

Prior to this change, productions that chose to shoot in the UK would very often cap-out of available rebate, leading to VFX being taken to other territories where there were further incentives available. With the new uplift, productions are now incentivised to both shoot and perform their VFX in the UK. As a result, it is estimated that the UK is set to attract an additional £175 million per year of spending on VFX for film and TV, an increase of over 45%, which will create 2,000 new jobs directly and 800 indirectly. This is effectively free growth for the UK, as the tax receipts from the additional economic activity created will cover the cost of providing the incentive.

Today opens a new chapter in the history of VFX in the UK. We already had a reputation for high quality, innovation and creativity. Now, productions will be incentivised to place many more millions of dollars of inward investment work with our award-winning VFX community, creating jobs and considerable value for the UK economy.

Neil Hatton MBE, CEO of UK Screen Alliance

To be eligible for the VFX uplift and cap exemption, productions must first meet the qualification requirements of the AVEC. There is no specific minimum UK spending requirement for VFX, but productions must exceed the overall minimum UK expenditure requirement of 10% of total budget, and the project must qualify as British, via the Cultural Test or be an official co-production. It is not necessary to perform all production activity in the UK, and tax relief may be claimed for VFX, even if no principal photography occurs in the UK.

The uplift and cap exemption announcement means that productions could receive 25.5% relief on filming and other non-VFX costs in the UK (up to 80% of total budget), and still receive a 29.25% rebate on their VFX spend, regardless of whether that spend takes their total UK spend above the 80% cap on eligibility for relief.

Any VFX activity claimed must occur in the UK. From 1^st January 2025, this activity is eligible for the uplift, and the rebate can be claimed for completed projects from 1^st April 2025.

Last year, Enhanced AVEC for limited budget films (aka the Independent Film Tax Credit or IFTC) was introduced for films with budgets under £23.5 million, allowing them to claim a rebate of 39.75% net on UK eligible expenditure of up to 80% of the total budget, subject to a maximum net rebate cap of £4.77 million. The VFX uplift cannot be combined with the IFTC, meaning the VFX spend is not exempt from the 80% cap on total eligible expenditure. However, VFX and post production are eligible costs within the IFTC, and could receive a net rebate of up to 39.75%, depending on whether the 80% cap on total eligible UK expenditure or the overall £4.77 million IFTC cap are exceeded. If the budget is between £18 million and £23.5 million, it may be worth transferring to the AVEC if there is significant VFX expenditure, as the uplift can then be claimed on this spend, which will then be exempt from the 80% cap, meaning the overall UK net rebate may be higher.

For details on how to apply the UK tax incentives to VFX and post production, see our page here. For general information on the UK’s film and TV tax incentives, see our page here.

Neil Hatton, CEO of UK Screen Alliance, awarded an MBE in New Year Honours

UK Screen Alliance and Animation UK are delighted to congratulate our CEO Neil Hatton on being awarded an MBE in the King’s New Year Honours list.

The New Year Honours List 2025 recognises selfless service to others from individuals across the UK. It was announced on 30 December that Neil Hatton was awarded an MBE for his services to Visual Effects and Animation in the King’s New Year Honours List.

Neil has been at the helm of UK Screen Alliance since 2016, and most recently led the visual effects (VFX) sector’s successful call for a better incentive to bring more inward investment work to the UK. He estimates that over the years, he has submitted over 30,000 words of evidence for various government consultations on this subject. Thanks to Neil’s persistence and tireless campaigning, with the support of UK Screen Alliance members, the UK’s VFX industry can now expect an increase of 40% to 50% growth in the next few years, creating 2,800 new jobs. The new VFX incentive comes into effect on New Year’s Day.

I’m humbled and thrilled by the news that I have been awarded an MBE. It’s a real high point, to round out an eventful roller-coaster year, with winning the VFX tax credit in the March Budget, only to have the general election throw it all in doubt, before finally securing it again with the new government in October. It is very gratifying to know that from tomorrow, the UK’s VFX sector will be unleashed to achieve its full potential. I want to show huge appreciation to our UK Screen Alliance and Animation UK members, as this award is also very much in recognition of our magnificent sector and all that they do. Without their commitment to supporting our advocacy mission, none of this would have been possible.

Happy new year and happy new tax credit everyone.

Neil Hatton MBE, CEO of UK Screen Alliance

In 2004, Neil was a prime mover in the foundation of the facilities trade body, originally known as UK Post, which subsequently became the UK Screen Alliance. He was an elected board member for many years before being appointed as CEO in 2016. One of his first initiatives was to join forces with Animation UK, to form a partnership with a strong combined voice on shared issues for the most digital parts of the film and TV sector.

As advocate and spokesperson, Neil has supported UK Screen’s members through some turbulent times, from Brexit, to the actors’ and writers’ strikes, to the pandemic. He wrote the Covid guidelines for post production and VFX, which allowed companies to get back to work quickly and safely, and instigated weekly online meetings throughout lockdown to keep post and VFX managers abreast of the changing regulations and government support. He likens this period to being the industry’s “agony aunt”.

Neil has always been a champion for industry training schemes. In 2003, he collaborated with fellow industry bosses Rowan Bray, Charlie Leonard and Mike Ashley to create First Post, a Creative Skillset funded course, which upskilled over 100 runners, allowing them to make their next step up the ladder. This provided the inspiration many years later for a further collaboration with Rowan Bray, when they co-chaired a trailblazer group to create the Post Production Technical Operator apprenticeship, which is now being delivered by London South Bank University.

In 2023, Neil was appointed to the Creative Industries Council, a government convened body that is chaired by the Secretaries of State for Department for Digital, Culture, Media & Sport and Department for Business and Trade. There, he chairs the working group on technical education, where his remit extends across vocational skills for the whole creative sector.

Neil is also a member of the High End TV Council (where he chairs the Post and VFX sub group), the British Film Commission’s national advisory board and their business subgroup, Film London’s filming executive task force, the BFI Screen Sector Task Force, and the BFI’s research unit advisory board. He is a non-executive director and founder member of Access:VFX, an organisation focused on increasing diversity and inclusion in VFX and animation.

Neil’s long career in post production started when he joined than BBC in 1979 as a graduate trainee. He worked in the videotape recording department at Television Centre for five years, learning to edit in 1” tape suites. In 1987, he moved to Lynx Video as an online editor. At IBC1990 in Brighton, he spotted the potential of a new technology called non-linear editing, and by 1992, had established his own boutique facility called Frontier Post. Pioneering the use of an early Lightworks, he cut Heavy Weather for the BBC, the first long-form documentary broadcast in the UK that had been offline edited on a non-linear editor. Over the next 15 years, he built Frontier Post from a single offline suite to a full-service post facility with online, grading and audio dubbing. As an editor, he received numerous prime-time broadcast credits on most mainstream channels for programmes such as Horizon, QED, Arena, Ground Force and the Grierson Awards.

The full New Year Honours List has been published in the London Gazette.

Absolute welcomes Executive Producer Kayleigh Dugdale to team

Absolute has announced the addition of Executive Producer Kayleigh Dugdale to its burgeoning team.

The latest in a line of impressive recent hires, Kayleigh joins the team from a previous EP role. Dugdale will work across all of Absolute’s departments, including Sound, Edit, CG, VFX and Colour, in addition to developing the production team in a period of growth for the business.

Starting her career in 2006, Kayleigh is a tour-de-force with over 18 years of industry experience. With heavyweight names on her CV, she spent her early years working across all aspects of post, from bookings to TV and commercial production. Kayleigh has gone on to become one of the most respected EPs in the business, working on many award-winning projects. Her reels boast a wide range of iconic brands, including Nike, Adidas, Samsung, Lancôme, and DHL, as well as collaborations with esteemed directors such as Adam Berg, Dom & Nic, David LaChapelle, and Traktor.

I am so thrilled to be joining Absolute Post as Executive Producer. It’s been somewhere that I’ve admired for a long time, not just for the creativity of their work, but also for their amazing company culture. There’s a real sense that we’re building something special here, and we are all striving for Absolute to become the place that talent goes to thrive and clients to come for the best work.

I’m delighted to be embarking on this new chapter with some exceptionally talented artists and producers, whose experience will be critical in shaping a fresh direction for the business. I can’t wait to get some amazing projects through the door and collaborate with more incredible teams.

Kayleigh Dugdale, Executive Producer at Absolute

Having been lucky enough to work with Kayleigh before, it was a no-brainer to bring her into our team here when the opportunity arose. Kayleigh’s reputation precedes her, and her versatility, knowledge and commitment to redefining post-production standards were a vital component in the success of [other] studios in both London and Amsterdam.

We know she is going to bring that same brand of innovation to her role here, and it’s going to be so exciting to see her continue to raise the bar. The recent additions to our team speak volumes about the ambition we have for Absolute and Kayleigh is a big part of bringing us realising those ambitions.

Chris Batten, MD of Absolute

Union adds grandeur to The Regime

Led by VFX Supervisor and Co-Founder Adam Gascoyne, Union’s newly established Montréal facility delivered the majority of the 700 VFX shots on the show, collaborating with a smaller team at Union HQ in London.

HBO’s The Regime is a darkly comedic six-episode series directed by Stephen Frears and Jess Hobbs that tells the story of life within the walls of a modern authoritarian regime as it begins to unravel. Chancellor Elena Vernham (Kate Winslet) has grown increasingly paranoid and unstable, having not left the Palace for some time, and turns to a volatile soldier, Herbert Zubak (Matthias Schoenaerts), as an unlikely confidant. As Zubak’s influence over the chancellor continues to grow, Elena’s attempts to expand her power eventually result in both the palace and the country fracturing around her.

Led by VFX Supervisor and Union co-founder Adam Gascoyne, Union’s newly established Montréal facility delivered the majority of the 700 VFX shots on the show collaborating with a smaller team at Union HQ in London.

Environments

The main task was to expand and enhance the Chancellor’s palace and surrounding landscape to increase its grandeur. The team scanned the real Schönbrunn Palace in Vienna, then redesigned it into a fictional, contemporary palace with grounds that were consistently featured in the series. This also included extending the landscape and creating a bespoke, breath-taking mountain backdrop in the distance.

The palace itself required a significant amount of initial groundwork, including technical location recces and evaluations during pre-production, the enhancement of the Palace design, development of a CG model, lighting and rendering of the Palace extension across different scenes, times of day, and various degrees of destruction in later episodes.

In one of the most memorable shots, the camera transitions from the palace interior through a window and into a turbulent warzone. This was achieved, using a blend of CG, DMP, and 2D elements to enhance the scene. With only balcony footage at their disposal, the team had to come up with an effective strategy to complete this seemingly simple shot. Upon review of some 2D solutions and ideas, it was evident that replacing the courtyard with a CG version was essential to uphold the parallax effect and realism. A digital matte painting was also used to merge the CG courtyard with the palace surroundings.

Environmental work also needed to create barren and exhausted beet fields and a Beet Factory on the outskirts of the Palace grounds. This included adding mud to enhance the rugged terrain, along with pillows of CG beets.

Gore

Some of the more absurd moments required enhancement of the Chancellor’s deceased father’s body, gradually making the prosthetics and actor look more decayed as the show went on.

At one point, the outlandish storyline featured a complex talking corpse sequence that involved a lot of different 2D techniques. Union collaborated closely with the clients to achieve the desired appearance and gradually adjust the level of decay. Ensuring that the enhancements matched perfectly with the actor’s facial expressions and muscle movements was a significant technical challenge in making the sequence believable.

Crowds and other work

The wide and expansive crowd shots featured Elena interacting with the audience and a dynamic sequence of a rioting mob; these scenes involved seamlessly merging CG crowd, plate, and 2D elements.

Other work included some atmospheric enhancements such as adding cold breath and movement to an extreme close-up. The team also delivered graphic design and screen replacements which included the creation of various news channel graphics to be composited onto televisions throughout the episodes.

The Regime is now available to stream on HBO Max, Now TV and Crave.