Dot Chucking

Since the first series of Poldark, we’ve been using LiDAR in our workflows. In fact, LiDAR and Photogrammetry have become a staple technology that we use throughout our studio. Below is an example of the first scan we did for Poldark, Series One. We captured the Cornish ruin to enable us to accurately model an…

First Man Oscar Win

So why the Oscar win? Considering the category nominees; Avengers, Christopher Robin, Star Wars and Ready Player One, it was a controversial win, no doubt. It’s likely that each of the nominations had well over 1500 VFX shots, several being full CG. Compared to maybe only half of that in First Man. Maybe it wasn’t…

A Forest of Points

Tree scanning and Environment build for a VR installation, 134 Million Points and Counting What We Did We scanned processed and created assets for a VR installation experience, where everything was displayed as manipulated points rather than geometry. The environment is a large Sequoia Tree in a forest of rocks, ferns and smaller trees. We…

Beardy Weirdy

Hair and Beard Grooming with XGen and Arnold What We Did We did a full beard groom in Maya using Xgen splines and rendered it out using the new Standard Hair shader in Arnold 5. Standard Hair is a physically based shader to render hair and fur, based on the d’Eon model for specular and…

Back to our Roots

When we needed to capture hair at a macro level we tested an old trick but a good one; the practical route. For more about our digital hair work for the same project, check out this post. The world of FX requires a ton of testing. This is where silly ideas become great ideas, it’s…

Wigs You Don’t Have to Rent

Hair Primitive Projection Using Maya 2018 (XGen) and Fusion Studio 9 What We Did Using a single frame from the plate, we created a simple groom, before decimating the hair count and using these to drive the animation of primitives with camera facing normals. We then used Fusion to project the plate back onto the…

The Sound of Water

What We Did We took 10 seconds of a song that had a good repetitive beat, and used it to drive a realistic simulation of an ocean surface. We wanted it to behave naturally, whilst subtly carrying the rhythm of the music. We used MASH to create float (no pun intended) values, that were used…

The All Seeing Arrays

Working with Brownian Motion we’ve helped them develop their multicamera arrays using compositing tools. One might not immediately think of using vanilla NukeX when it comes to the stitching of video footage, but NukeX, with its built-in 3D system, provided a complete toolset for the things we set out to accomplish in our collaboration with Brownian…

Bunker Life

The Alternative Cabinet War Rooms Over the course of 7 days, we joined forces with Subterranea Britannica and FARO to scan and photograph the Paddock Bunker, Churchill’s alternative war rooms. The result is a LiDAR scan of all 50 rooms across two levels, set below a housing estate in North London. The Bunker is full of history,…

Lost at Sea

 The power of Houdini. SideFX kindly provided trial software for our team to get their heads into Houdini and this is the result. Modeling the Boat The first step was to model a Tall Ship using reference of the ship we wanted to create. We kept the shape and silhouette as simplified as possible…

Blow Me Up

CGI isn’t always the answer Working together with Asylum SFX, Lexhag developed a computer controlled pneumatic suit for the Netflix show The Innocents. Universally made to fit all the different actors’ shapes and sizes, the under jacket contained all the major muscle groups, which could be individually inflated and deflated to give the illusion that the actor’s body…

Frontside 360°

Shooting interior vehicle shots can easily turn into a big number, creeping over you like Freddy does, while you sleep. Traditionally, they can be shot for real, on a low loader or with a specially modified vehicle. You can also shoot them in a nice warm studio, which is what we were tasked to do….

Witness the Fitness

Quick, easy and high spec. That was our brief for the Witness system we built. For our recent New Pictures and Netflix production, The Innocents, we needed to build something that we could employ quickly, wouldn’t be intrusive onset and met a particular price point.  Capturing multiple angles, performances or moving objects enables a smoother match-moving…

Vac my Face

A quick one for the records; working upon the recommendation of our friends at Peanut VFX we created some vac formed faceplates for the quick application of tracking markers for a recent project. The process involved taking face casts of each actor, from which plaster positives were made. The plaster was cleaned up and the marker holes…

Ice and Lasers

Iceland is a cool place. Quite literally, it’s a beautiful, harsh, unique place on earth where, it seems, no much lives. We travelled there in search of a mythical Ice Cave in which an artist, Isaac Julien, would make his next works. What did we do? Our key job was to add a giant, wooden, staircase…

It’s a Wrap – How we wrapped a set

When you can’t find a 1940’s London Street scene that’s been demolished because of the bad things that happen, you build one in a BBC carpark in Glasgow. That’s what Pat Campbell’s team did for Rillington Place. Lexhag worked closely with Pat’s team to make a giant PBU (Photo Blow Up) with a twist. Traditionally the art department…