Post-production & VFX 

Our expert team deliver offline and online edits, colour grading, and a variety of FX, animation and motion design services. From 2D animation through to 3D modelling - whatever's in your mind, we'll help you realise it.

Our three in-house edit suites allow us to be responsive to national and international projects.  Check out our post-production reel below to see before and after our post process. 

Shell Viva Energy Australia - 'Gunk Monster' Reboot

Working with the brilliant team at Sense, our brief was to create a new commercial from an existing one originally shot in Chile and featuring a red BMW and an animated ‘Gunk Monster’. To further complicate matters, backgrounds and VFX composites could not be supplied. To update the advertisement we had to seamlessly cut around the existing shots of the BMW and replace them with the Shell V-Power Racing Show Car that we filmed on location at a Shell Coles Express in Yatala (QLD). This meant that every single shot had to be executed in an incredibly precise manner using a live vision mixer on set, along with intricate placements of green screens and lights. To see how we did it, check out the video above.  

 

Whopper for Prime minister

 

In a topical campaign for Hungry Jack’s which makes light of the fact that a mute hamburger is just as good an option as the other two main contenders, Hungry Jack’s wanted to add some light humour to an otherwise predictable election campaign.

Channel T were the masterminds behind the idea and sought a trusted partner in SO, having worked with us previously on numerous Hungry Jack’s and Heinz spots. This particular TVC was a straight post-production job that was perfectly suited to utilising our in-house post production facilities.  Channel T designed and provided all the main assets, and we animated them. The SO team constructed a 3D environment and inserted additional 2D assets to bring the script to life. With the addition of carefully placed lighting in post, some subtle movements and a strategically chosen seriously serious voice over, the campaign flavour really came together (make sure you listen to the play on words in the disclaimer at the end).  It’s an integrated campaign with strategic media placement, and high engagement on social. With no shortage of political and whopper puns, the updates aren’t just coming from Hungry Jack’s - user generated content is rife, with fans suggesting additional satirical fuel to add to the flame grilled fire.

Congratulations to Channel T for developing such a strong and bold idea and thanks for choosing us to be your production partner. Nothing beats working with a client who’s not afraid to push the creative in order to engage their audience.

 

Babybel


Starting with just a 2D vector illustrator file of the cellophane packaging, the old Babybel logo had to be replaced in the introduction of the ad where the cheese slides in and talks to camera. The new logo is on every other shot in the commercial, but the challenge for this was to match the lighting in the kitchen and the detailed texture of the red cellophane wrap, especially with extreme close ups of the "Mini" text and the intricate folding on the edges. The end result is a seamless blend of movement, geometry, lighting, and texture matching with no motion blur. See before and after images below, along with the finished spot. 

 
 

Melbourne Storm


This was another spot where we worked in close partnership with the agency. The agency sourced and brokered the deals with both the hero talent and the extras (dedicated Melbourne Storm fans) and we brought the production together.
 
The storyboards we received referenced Spaghetti Westerns and also required co-ordinating a major location and three prominent identities – Molly Meldrum, Nick Maxwell and Geva Menor. So, anamorphic lenses in hand, we found a shoot date that worked for all of the hero talent and went for it.

To create the illusion of a larger crowd, thought was put into the framing of the shots, and more of an emphasis was placed on the visual effects. The eye is drawn to the sky by bringing in the lightning strike and clouds earlier, as well as making them more dramatic.  Working closely with the client in one of our edit suites allowed for immediate feedback and quick execution of the required changes.

 
 

Hungry Jacks

Using a green screen, we turned this job around from brief to delivery in just five working days. Our nimble team acted as an extension to the agency - they provided the graphics and the YouTube clips, we helped facilitate the production, and bring it all together in record time.

 
 

Post-production on the latest Dulux 'Wash & Wear' campaign - featuring Mythbusters

SO Productions were enlisted by Communicado Marketing Communications for post-production of the latest Dulux campaign.  Featuring the presenters of hit television series MythBusters, Jamie Hyneman and Adam Savage, it's the biggest advertising campaign in the company's 82-year history. 

Shot in San Francisco, home to Hyneman and Savage, by their production company Non Lethal Productions, the campaign consists of a series of 30” and 15” TVCs along with four web films housed on the dedicated webpage duluxtested.com.au

With our in-house post-production facilities we were able to work efficiently with the client and turn around the edits – a total of twelve executions and the colour grade – in great time. 

 
 



SO Productions - latest VFX Reel


 

 

Builders Academy - We Can Fix It

When the Sense agency approached SO Productions to create a television commercial for the new Builders Academy Australia, we were more than excited to show them how our post team could help develop the creative, Director, Andrew Coyle wanted to pull in inspiration from various action films such as Crouching Tiger, Hidden Dragon, Terminator. and The Matrix. All of these influences are apparent in the commercial and couldnt have been achieved without the experience and keen eye of our in house VFX Director, Paul Mitchell. The spot required roto, green screen work, 3D, compositing and finally grading. The colourgrade was done in the SO Productions suites on DaVinci and was the icing on the cake of a great commercial. Thanks again to Sense for delivering us a great job!

With offline and online editing facilities all in-house we keep outsourcing low, and creativity and efficiency high. 

Find out some of the techniques we use to create the finished product below and check out some of our videos showing how it's all done on our blog. 

Sourcing inspiration from action films such as 'Crouching Tiger, Hidden Dragon', 'Terminator' and 'The Matrix' we paired up with Sense Agency to make Bob the Builder larger than life. This superhero required root, green screen work, 3D, compositing and grading. 

The Good, The Bad, & The Wobbly

SceneOn's latest international spot plays with the epic qualities of Sergio Leone's classic Spaghetti Western genre, and adds their own element - Jelly. It was out second spot for Funtastic's Chill Factor brand and they couldn't have been happier. Shot on location at Swan Hill, the SceneOn team brought the town to life to replicate the Leone Style, it was a case of using the town's structure and then creating the western world around our hero, using our in-house VFX team.

Slushy Maker

When the creative forces of SceneOn, Funtastic and Madman Entertainment came together again to produce a new spot for the Slushy Maker, the aim was always to create a big cinematic spot that would leave a lasting impact on it's viewers. The new commercial was filmed at the Thornbury theatre on the Arri Alexa camera using Prime Anamorphic lenses. Once the filming was completed, all footage was transcoded in-house and the final step to create our explosive and cinematic spot  was left up to our post-production facilities. The offline was completed in-house by editor Trevor Holcomb before our colourist Vincent Taylor stepped into the ring. We had researched many looks and feels from films gone by and come up with a style guide and references to showcase our talent, location and product with maximum impact. Vincent and the SceneOn grading suites were able to deliver and exceed what we had envisioned. Our in-house work flow gave us the time to push our creative ideas further and give the spot a deservedly polished finish. View a quick before and after video above to witness the results our grading suites were able to deliver.

Rainbow Loom

To bring the fun and fantasy of a Rainbow Loom world to life, our in-house VFX artists and facilities were utilised to create highly realistic 3D graphics and composite them into our 5K red epic footage. With the use of our three main suites we were able to create efficient results to match our clients needs. The spot was rounded off with an overall grade using our DaVinci suites to make the colours of our 'looms' pop on screen and integrate seamlessly. View the Before and After results in a short video below.

TATA Motors - India

Once again our go to colourist Vincent Taylor was called upon to complete our recent spot for TATA Motors and deliver it a worthy stylised feel. After Trevor Holcomb had completed his offline edit, the footage was processed through SceneOn's Davinci suite where it was beautifully crafted to emphasise our rugged and vast locations and make our vehicle the hero of each frame. Our in-house workflow gave us more time to push our client's creative ideas further and the results speak for themselves. View a quick breakdown of the colour grade by watching the video below.

Federation University Australia - Business

Our in house facilities and software allow us to drive creative ideas further. Using our DaVinci grading suite, colourist Vincent Taylor has brought our characters and locations to life and added substance and emotion to each frame. With the addition of a few VFX paint jobs the spot has delivered in it's look and feel to match our client's message and brief. View a quick before and after video in the link below.

Cut To The Beat

After all the footage was in the can the long process of creating the finished product for the Mombassa On The Line film clip - as part of the Cut to the beat competition - was just beginning for Karleen and Tereusuac. Bringing an urban jungle to life is no easy task, but with the two french directors know how and SceneOn's facilities the workflow was made easy and results more achievable. Roto-scoping, compositing, 3D particles and painting along with various other elements of motion design took place in what would end up being the winning entry of the competition. Watch the VFX breakdown above created by Karleen to get a grasp of the amount of work that took place to create the piece.

Stay In Control - Rainbow Kick & CALD

Both spots for the recent TAC 'Slow Down and Stay In Control' series were shot using the Phantom Camera at speeds of up to 2000 frames per second. The footage was all handled in-house with our systems taking care of transcoding and time re-mapping. After the offline process was complete our VFX artist Paul Mitchell stepped in and did a few sky replacements and touch-ups. The final process before delivery was left to colourist Fergus Hally, giving an overall grade and tone to the two spots to bring an emotive feel to the messages being played out in the images.

Shell, Viva Energy Australia 'Gunk Monster' Reboot