PNC_First Five

A beautifully shot and edited series of spots which came together with help from TANQ’s Andrew Granelli in Flame.  The elegant, fluid transitions, invisible retouching and cleanup work, and the enhancement of key moments in the imagery add to the lyrical quality of the project.

One particular challenge, and a good example of the invisible effects work that TANQ brings to many projects, was the removal of some of the graffiti from the rooftop playground where the little girl rides her tricycle and dances with her father.  ‘The location was great,’ said Andrew, ‘but some of the graffiti was a little … inappropriate!’.  By isolating the sections of wall that were a problem, Andrew was able to track in digitally cleaned up pieces of wall.  The foreground action was then rotoscoped over the top, and additional lighting changes such as sun flares and shadows were matched.  In some shots there was the added complication of a change in focus, so that was also reproduced in Flame.

Another completely invisible piece of effects magic is the removal of a tattoo from the arm of one of the actors.  “It’s a quick shot,” said Andrew, “but there was a lot of movement in his arm, and some distortion to the shape.  Those sort of fixes only work if you don’t notice them at all – they have to be completely invisible.”  The artists at TANQ regularly spend hours or days on hugely complex effects,  but leave no trace – nothing that the viewer would ever notice.  “Sometimes it is frustrating when I think of all the invisible work that we do – there may not be exploding space ships or dancing robots, but the challenges are just the same.  It is a compliment when a client asks ‘where are the effects?’ “

Credits:// Agency: Smith Brothers / Producer: Barry Zeidman / Production Company: Collective / Director: David McNamara / Editor: Peter Mostert @ Hooligan