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  • Set in England after the signing of the Magna Carta, Ironclad tells story of a determined group of Knights Templar who defend Rochester Castle from the siege of King John. The visual effects featured large scale historical battle recreations, miniature destruction sequences, army duplications, set extensions and extreme visceral violence with live action and green screen elements. Paul Giamatti as King John and Vladimir Kulich as the mercenary captain, Tiberious, try unsuccessfully to reason with the rebels holding the castle. I had the opportunity to lead and manage team of great artists and meet any deadline with extensive collaboration and communication, scheduling in advanced and anticipating what may come next!
  • Few shots developed for Harry Potter. The heroes struggle in a lake in a sequence that was shot in the safety of a tank on a green screen stage with added a Scottish landscape and lowering sky to the shots, with a great deal of complex keying and grading to create a convincing sense of dark murky water and flat exterior lighting. The Forbidden Forest sequence also featured some set replacement work to extend the forest deep into the background, which was accomplished with layered matte paintings. After trying many different looks, settled for a very subtle look, which softened the actors faces and added a gentle glow to them. Since the sequence was all shot in-camera rather than in separate green screen passes, the characters were made transparent by rotoing them off the plates, repainting the background behind them and them mixing them back in.
  • A man awakens from a coma, only to discover that someone has taken on his identity and that no one, (not even his wife), believes him. Nature of content was to replace monitors and add new inserts while maintaining detail on foreground hair, blur levels and reflections. Painted snow tracked to fulfil continuity.
  • Pterosaurs and 3-D documentaries were made for each other, even though they're separated by 65 million years. 4K IMAX, BAFTA WINNER Various issues have been taken care of, polarisation and colour shifts have been fixed between the two eyes, as well as vertical alignment and disparity maps. The Earth was a result of multiple photographs and basic CG passes. Colours balanced and elements added to camera projections on additional spheres for interocular distance, altitudes, and the scale of various elements to match.
  • With a vast amount of green screens to oversized sets, the actors often had little more to work with than basic markings. A film with small people ...and plenty of tracking markers on variable Green Screens!
  • Studio shoot elements selected to design a sequence of shots following brief by the advertising agency for the creation of a theatrical release promotion. Blue flying ribbons and paint aim to enhance the identity of a drink.
  • It is Christmas Eve and everyone is getting ready for the big day; everyone that is, except for a strange, enigmatic being who wakes up in the street, not knowing where he is or what he’s here to do. A handful of Visual Effects mainly considered for weather and environmental effects, integration of particles, set extensions and painting backgrounds to balanced clean plates.
  • A British historical drama film about King George VI, who, to overcome his stutter, is introduced to an unorthodox Australian speech therapist. The few Visual Effects shots developed, involved the creation of matte paintings with added lens distortion and tracking at the Cathedral interiors.
  • The extraordinary story of three Rwandan kids who walk 3000 miles to the Soccer World Cup in South Africa. Excessive VFX work and the opportunity to lead and manage team of up to 8 people, communicate with clients and bid on shots hence meet any deadline with collaboration and communication for attention to detail. Nature of shots varied with screen inserts, bullet hits, damaged windscreens, logo removal and replacements, animal inserts and crowd duplication
  • Jackboots On Whitehall employs animated puppets, with sets and characters built to 1/6th scale. Hitler and his gang of ruthless Nazi drones take over London and England, forcing Winston Churchill and a band of brave Kentish farmers to amass at Hadrian’s Wall to prevent an all-out Nazi invasion of the UK. Tasks were to animate not only the puppets' mouths, which were less than a centimetre wide, but also their eyes, plus the development of unique expressions. Some were also given teeth to further enhance their on-screen personas. Other general VFX was clean-ups, set-extensions, green screen compositing, atmospheric and muzzle flash effects.

ZEDIA LIMITED · Registered in England and Wales, company number 04840592 · info@zedia.org.uk
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Description

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A Visual Effects boutique catering to both the film and television industry with capacity to take on 2D, Digital Matte Painting and 3D Stereo projects in their entirety as well as portions of work.
Overseeing everything from Concept Development, Pre-Production to Creative Production, On Set Photography / Supervision, through to Miniatures and Digital Effects.

...also

    Keen to assess investment and equity services for independent feature Films and Television, offering creative and technical support to filmmakers. In the capacity of Executive Producer/Co-producer are able to advise on all aspects of production, from concept to completion, ensuring that every penny makes it into the image onscreen.

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