Category: VFX Supervisor

Vodafone – ‘Sledge’

Agency: Ogilvy
Executive Creative Director: Nicholas Wittenberg
Producer: Kim Parrett

Production Company: Somesuch
Executice Producer: Scott O’Donnell
Director: Nick Gordon
DoP: Jakob Ihre
Producer: Elly Camisa

Edit Company: Final Cut
Editor: Dan Sherwin
Producer: Nikki Porter

Post Production Company: Time Based Arts
Shoot Supervisor: Leo Weston
2D Lead: Leo Weston
2D TEAM: Leo Weston , Sheldon Gardner, Grant White, Manolo Perez, David Birkhill
Digital Matte Painter: Adam Leary
Colour Grading: Lewis Crossfield
VFX Producer: Josh Robinson

Tracking: Peanut

VFX work included adding/extending snow in external shots, adding 5G logo to VR headset, making ceilings red in the house plus other general cleanup.

Facebook – ‘Chant’

Not the sort of thing I’d normally post however this seems worth a mention as I supervised this Berlin shoot remotely from London over Zoom at the height of the worldwide Covid lockdown.

For the final scene we shot multiple plates of people stood on the balconies of their tower block – choreographed by the camera operator via mobile phone. They changed clothes a few times between takes and we comped the plates together in order to make it look like we had a lot more people involved. I also created a couple of CG banners to add to the scene.

Unprecedented times.

Production Company: Rattling Stick
Director: Sara Dunlop
Producer: Ellie Fry
Post Production Company: Time Based Arts
Post Producer: Sean Ewins
VFX Supervisor: Leo Weston
2D Lead: Leo Weston

Diet Coke – ‘You Do You’

Production Company: Biscuit Filmworks
Director: Molly Manners
Post Production Company: Time Based Arts
Post Producer: Jo Gutteridge
VFX Supervisor: Leo Weston
2D Lead: Leo Weston
2D Team: David Birkhill, Ralph Briscoe, Manolo Perez

Mercedes – ‘Online Showroom’

Agency: Saatchi & Saatchi
Production Company: Outsider
Director: Chris Balmond
Post Production Company: Time Based Arts
VFX Supervisor: Leo Weston
3D Team: Ben Cantor, Chris Wood, Sam Osborne, David Loh
2D Lead: Leo Weston
2D Team: Adam Patterson, Will Robinson, David Birkhill, Stephen Grasso, Matt Jackson

Sainsbury’s – ‘Christmas 2019’

Agency: Wieden & Kennedy
Executive Creative Directors: Tony Davidson & Iain Tait
Creative Director: Dan Norris & Ray Shaughnessy
Creatives: Tom Bender, Tom Corcoran, Thomas Coleman & Matt Kramer
Agency Producer: Richard Adkins
Assistant Producer: Dee Fenning

Production Company: Pulse Films
Director: Ninian Doff
Executive Producer: James Sorton
Producer: George Saunders
Production Manager: Ben Burdock
DoP: John Mathieson

Edit Company: Stitch
Editor: Leo King
Edit Assistant: Charlie Von Rotberg

Post Production Company: Time Based Arts
VFX Supervisors: Leo Weston & Sam Osborne
2D Lead Artists: Leo Weston & Matt Jackson
3D Lead Artist: Sam Osborne
2D TEAM: Leo Weston , Matt Jackson, Matt Shires, Nina Mosand, Adam Paterson, Ollie Ramsey, Jamie Crofts, Will Robinson, Grant White, Linda Cieniawska, Manolo Perez, David Birkill
3D TEAM: Federico Vanone, Walter How, Dave Loh, Ben Cantor, Zoe Sottiaux
DMP: Lisa Ayla, Carl Edlund, James Mann
Motion Graphics: Tom Robinson
Colour Grading: Lewis Crossfield
VFX Head of Production: Josh Robinson
VFX Producer: Jo Gutteridge

Sainsbury’s offers up a festive feast of a tale this year, directed by Ninian Doff through Pulse Films. The spot brings to life the story of Santa’s origins, set against the sweeping backdrop of a fantastical Dickensian London. I was extremely pleased to land the job of VFX supervisor and lead 2D artist for this Christmas epic.

We shot the commercial out in Romania in 36 degree heat on a backlot built for use in a TV show set in San Francisco. Much of the post work within the town itself involved adding snow and cold breath and changing any buildings that didn’t look like London to ones that did, and also compositing digital matte paintings of the mountains and arctic tundra that lay outside of the city walls. We also composited stock footage of reindeer into the final scene and gave one of them a red nose for good measure. Nobody on the team wants to comp any more snow or cold breath for another 11 months.

Zalando – ‘Free to Be’

Agency: Grey London
Creative Director: Vicki Maguire
Creatives: Sam Daly & Rob Greaves
Producers: Thea Evely, Talou Sabbah & India Smith
Production Company: Park Pictures
Director: Georgia Hudson
DoP: Ben Fordesman
Producer: Jane Lloyd
Editor: Paul O’Reilly
Sound & Music: Sam Ashwell
Post Production Company: Time Based Arts
VFX Supervisor: Leo Weston
2D Lead: Ollie Ramsey
2D Team: Jamie Crofts, Nina Mosand, Stephen Grasso, Matt Shires, Will Robinson, Warren Gebhardt, Linda Cieniawska.
3D Team: Dave Loh, Sam Osborne
Colour Grading: Lewis Crossfield

Bombay Sapphire

A social media film for Bombay Sapphire. Multiple plates of fruit & booze were propelled into the air by dropping the entire set and camera together at lightning fast speeds with a Bolt high-speed motion control rig. We then reversed everything so the liquid heads back down towards the glass and comped the best plates together. You’d think that a they’d use water on set for the clear liquid but Bombay Sapphire aren’t short of a bit of gin so up in the air it went.

Director: Dan Tobin Smith
Post Production Company: Time Based Arts
VFX Supervisor: Leo Weston
VFX: Leo Weston , Alastair Ford

Bruno Banani – ‘Man’s Best’

Bruno Banani returns for a second tour of his laboratoire in this latest instalment brought to us by Friend director duo Tim & Joe for Grey London. In this film the essential oil extraction process has been ramped up to a new level. As a leggy trolley lady leads us on our journey through the lab, we take in an Anti-gravity peppercorn selection chamber, an infinitely tall microwave storage shelving facility and an automated laser powered bottle-sculpting robot – amongst other things. Rushes design team headed up by Domhnall Malone worked closely with Tim & Joe in designing the robot with reference to the villain restraint rings from Superman 2. I supervised the VFX shoot out in Vilnius, Lithuania and led the team for the post process back at Rushes.

Laser Robot – Dust, smoke, dry ice, laser and glass elements were shot on set against a black background. The robot and glass shard were modeled in Zbrush by Nimesh Patel and animated in Maya by Craig Travis. The smoke and dust elements were simulated in Phoenix FD for Maya by Chris Lumsdale. I composited all shot and CG elements together with additional sparks, glows, lens flares and molten glass and dirt textures in Flame.

Infinite Ladder – The girl was shot on set from a low angle stood on a short ladder against a small section of shelving. The camera slowly dropped a short distance in order to create a change in perspective of her body. The girl was then keyed and rotoscoped from this background. The new extended camera move was previsualised in Flame and then exported to Maya. Extensions to the shelving and ladder were modelled in Maya by Rob Millan along with a model of the girl which was re-projected with the re-sped shot texture after a pickup point part way into the shot allowing for the extended camera move to take over for the long drop. The drip from her pipette was created as a cloth simulation in Maya. All elements were then composited in Flame.

Anti- Gravity Peppercorns – This scene was shot on a Steadicam with peppercorns on the table to serve as both a lighting reference and as tracking markers. Additional tracking markers were added to the walls in order to ensure a solid camera track could be achieved. The hero peppercorn pincered at the end was rigged on garden wire to provide a target for both the girl and for the focus pull. All rig and tracking points were then painted out, and the new floating peppercorns were modelled and animated in Maya. The final comp was completed in Nuke by Sarah Breakwell.

Other VFX in the film included adding logos to doors, background replacements, set extensions, general cleanup to walls and floors, adding cinnamon dust, steam plumes, condensation on visor, colouring and animating drips, CG augmentation of glasses and animated graphical readouts and lasers for the microwave and robot.

It was a pleasure to once again work with Tim & Joe and the creative team from Grey London for this project.

Client: Bruno Banani
Agency: Grey London
Producer: Louise Reimnitz
Business Director: Nancy Suarez King

Production Company: Friend
Directors: Tim & Joe
Producer: Bonnie Anthony
Post Production Company: Rushes
VFX Producer: Jon Purton
Executive Producer: Jule Pye
VFX Supervisor: Leo Weston
Concept Direction: Barry Corcoran
Concept Design: Domhnall Malone
Colourist: Simona Cristea-Harrison
Flame: Leo Weston
Nuke: Sarah Breakwell, Bharathi Anthonysamy
Modelling: Nimesh Patel
CG Supervisor: Andy McNamara
CG: Craig Travis, Adam Lindsey, Chris Lumsdale, Rob Millan
MGFX: Tania Nunes

Neulasta – ‘Rather Be Home’

Knucklehead’s Director duo The Dempseys create this film for Neulasta, which shows the benefits of receiving medication in a home environment instead of a hospital. As the main character goes to sit down in the hospital she is magically transported back to the comfort of her own living room. It was a pleasure to work with the Dempseys for the first time whilst acting as VFX Supervisor for the transitions in the 2 films. Featured here is one of those 2 films: ‘Rather Be Home’.

This transition was shot on a Panther motion control rig in 2 separate locations in Cape Town, South Africa. Each of the two scenes were deconstructed over a series of plates where all furniture, magazines, people etc were gradually removed until the rooms were completely empty. The main actor was shot along with the couch in the home environment but lit to appear like she is in the hospital. She was then rotoscoped into the scene and the plates combined as her lighting slowly changes to complete the transition from hospital to home. In supervising this shoot, it was key to get all measurements of camera height, track position & angle, room size, plus the positions of all furniture and people to enable us to rebuild the scene exactly after the rig had been moved to our second location. It was also important to carefully plan the order in which items were removed from the scene to enable unobscured plates of each object and person allowing freedom in the compositing stage to remove and insert items in any order throughout the transition. I was also able to turn around rough comps with a selection of plates whilst on set in order to give reassurance to the production crew and to assist with explaining the transition to the end client. The final comp was completed at Method Studios New York by John Yu.

I’ve posted here a heavily edited version of the actual film in order to focus on the effects shot. Unless you are shopping for both a VFX supervisor and cancer medication then you don’t need to sit through the other 90 seconds of legal disclaimer. In case you are shopping for Neulasta and not a Flame Artist, then be sure to read everything on this page instead.

Client: Neulasta
Production Company: Knucklehead
Directors: The Dempseys
Producer: Bill James
Post Production Company: Method
VFX Supervisor: Leo Weston
VFX: John Yu
VFX Producer: Robert Holland

Gillette Venus - 'Pre-Party Party'

Gillette Venus beauty ambassador Emma Willis returns in the latest campaign spot from Grey, directed by Friend’s One In Three. The new spot contains five Emmas in various stages of readiness for a Christmas party. The five plates were shot using motion control and then rotoscoped together to create the final composite. A time-lapse outside scene moving from a crisp winter morning through to a cold snowy night was constructed in Flame and then camera tracked into the view through the windows. Other Flame work included adding in a frosted effect to the lower window panes in the bathroom and removing the reflection of the motion control rig and camera from the mirror in the bedroom.

Client: Gillette Venus
Agency: Grey London
Producer: Joseph Ogunmokun, Melissa Beeson
Creative Director: Clemmie Telford
Production Company: Friend
Director: One In Three
Producer: Guy Rolfe
DoP: Oliver Cariou
Post Production Company: Rushes
VFX Supervisor: Leo Weston
VFX: Leo Weston , Glenn Cone, Richard Russell
VFX Producers: Rosanne Crisp & Sara Beckman
Colourist: Marty McMullan