We’re very proud to share our VFX breakdown for Nolly.
Huge thank you to Quay Street Productions and ITVX – it was such a privilege to work on this wonderful series.
Tag: VFX Partner
REALTIME PROVIDE VFX FOR NEW ITV DRAMA, MATERNAL
We were proud to provide VFX for ITV’s timely new drama, Maternal, which tells the story of three doctors returning from maternity leave to an NHS frontline struggling to cope with the post-pandemic demands.
Executive Producer, Jonathan Rawlison, said: “We were delighted to play a small part in Maternal, providing VFX work and collaborating again with Producer Betsan Morris. VFX Supervision was provided by Sue Land and VFX Production by Kerrie Fitzgerald.
You can stream all 6 episodes now on ITVX.
REALTIME TEAM UP WITH NETFLIX ON DANCE MONSTERS
We are thrilled to announce our involvement in Netflix’s upcoming visual spectacle, Dance Monsters.
The first three episodes premiere on Dec. 16, exclusively on Netflix.
“The phrase “dance like nobody’s watching” is turned on its head in the first-of-its-kind competition show Dance Monsters. A panel of famous judges, a live audience and viewers at home will be watching daring performances — but the dancers themselves won’t be onstage.
The show’s human contestants are each given a monster alter ego to dance as. With the help of advanced CGI technology, they’ll bust their moves off-camera while their monsters boogie down for the world. You won’t be able to see the real people behind each CGI beast, but throughout the series’ eight episodes, you’ll get to know their stories and their struggles; and witness them overcome the physical and mental obstacles that have been holding them back from living out their dreams of dancing professionally. Here’s everything you need to know about the feel-good and fun Dance Monsters.”
https://www.netflix.com/gb/title/81094767
REALTIME Appointed Lead VFX Vendor on ITV X Historical Drama, ‘The Winter King’
Following on from our wonderful collaboration on Sky’s ‘A Discovery of Witches’, REALTIME are teaming up once again with Bad Wolf as the lead VFX vendor on ITV’s upcoming Historical Drama, ‘The Winter King’.
Jonathan Rawlinson, executive producer at REALTIME, said: “We are delighted to be working again with Bad Wolf on ‘The Winter King’ as the sole vendor on the series. We have provided on-set VFX Supervision and Production support and we are creating a wide range of VFX to help bring to life this exciting re-imagining of the Arthurian Legends”
Based on Bernard Cornwell’s Warlord Chronicles, THE WINTER KING is an epic but intimate 10-part returning series which will shoot in Wales and the West Country in 2022. Portraying a revisionist take on the well-loved Arthurian legends, the series follows Arthur Pendragon as he evolves from outcast son to legendary warrior and leader. The Winter King is set in the 5th century, long before Britain was united, in a land of warring factions and tribes when the world was brutal and lives were often fleeting.
Produced by Bad Wolf in association with One Big Picture and distributed by Sony Pictures Television, The Winter King has been commissioned for ITVX by Head of Drama, Polly Hill. Polly will oversee the commission on behalf of the channel. Kate Brooke and Ed Whitmore will adapt Bernard Cornwell’s Warlord Chronicles and Executive Produce alongside Otto Bathurst who will be the lead director and Executive Produce with Toby Leslie. Executive Producers are Julie Gardner, Lachlan MacKinnon, Sherry Marsh, Shelley Browning and Kenneth Browning and the drama is produced by Catrin Lewis Defis.
https://bad-wolf.com/bad-wolf-to-produce-epic-10-part-historical-drama-the-winter-king/
REALTIMERS: Shannon Moran, VFX Editor
If there’s one thing we love more than VFX, it’s our team. REALTIMERS is a chance to showcase the amazing people behind the pixels to see what makes them tick.
Meet Shannon, our VFX editor, who discovered her love for video editing in her high-school glee club, of all places.
Name & job title:
Shannon Moran – VFX Editor
Where do you fit in?
I am the revolving door at REALTIME, starting with getting footage in the building, working with pipeline and other teams to get it to artists and then checking the final product and sending footage out to clients. Then making some cheeky reels after for marketing.
How did you get your start in the industry?
It’s a very magical mystery tour. I started self-taught in high school teaching myself offline editing then making silly videos, after a failed career in Theatre in college I changed majors and got into film editing. I worked in Offline TV in Denver Colorado before moving to the UK to continue my studies at the Met Film School in Visual Effects and Animation. While working there as a technical support took that self-taught attitude I found an online class in a new software at the time called “Hiero” that combined my love of Editing and VFX. Talked on a few message boards and got the eye of advertising at Framestore, and that was all she wrote. I worked there for 6 months as a sort of baptism by fire of what to do (and not do – I made a lot of rookie mistakes) as a VFX editor. Then worked at Moving Picture Company for four and a half years, three of them I was the PR VFX Editor where I was responsible for everything showreel and promotion of the company and award reel submissions, and created and produced (along with others from editorial) a show called Monthlies. Later my role moved to LA but was taken on board as a VFX editor once again for The Lion King. Moved to DNEG to work on TV and landed working on the show Dark Cystal, then following year was lead VFX editor on Netflix’s “Cursed”. The pandemic happened….and then found the team here at REALTIME.
Your superpower?
That one is easy. Teleportation. After being a commuter for 7 years from Brighton to London I just can’t do it anymore and I would also save on travel to the States and see my family more. Fancy going to Mom and Dad’s for Dinner (snap finger) poof in America, then poof back in UK to finish work.
What inspires you on the day-to-day?
The need to create something. Sometimes (usually at the most inconvenient time) I will see an idea for a trailer, reel, animation, something. and within an hour have made something or planned it all out. Sometimes it comes out great and makes me go “wow did I really make that?” and other times I will be like “woof that was crap” but I’ve gotten that creative energy out and I feel exhilarated.
My desert island film / TV show / animation / game / artform / piece of artwork is:
OH, wow I’m so bad at these. I just recently finally was able to answer the “what song would you play to save yourself from Vecna” (Little stranger things reference) – So sadly don’t have a really profound answer like “oh I would take Atlas Shrugged or the works of Salvador Dali” unfortunately my interests and inspirations change so frequently.
Your soundtrack whilst working:
If I need to solve an issue – probably a beautiful mind soundtrack. If it’s just plug and chug getting sends and turn over done, some EDM Remix playlist on YouTube or my feel-good playlist. Something with a steady beats per minute to keep my focus
If you could work with anyone who?
Maybe not a who, but more a what. One day I just want to work on a Star Wars project in some capacity. I’ve come close a couple times, and I’m ever hopeful now with TV VFX and things. I’ve been blessed to worked with some amazing creatives already. So yeah, something Star Wars or Jurassic Park.
If not this, then what?
I’ve always had a backup plan if editing never worked out. I loved the idea of hands can be healing. So, I toyed with the idea of a massage therapist or sports medicine of some kind. I come from 5 generations of nurses so medical has always been in my blood.
Why REALTIME?
REALTIME came at a good time for me and my family. Right at the middle of the pandemic, the idea of an Editorial Job being working from home seemed inconceivable before 2020. Like stated before commuting for 7 years and the hours was really taking a toll on work/life balance and I was thinking that I need to make a hard choice and walk away from the industry. But I feel REALTIME has shown that life after pandemic there is a place for hybrid and a work at home culture. This year (2022) has been a growing and learning period for REALTIME but I feel like it’s the combination of work/life balance that I need.
People would be surprised that…
I was in Glee Club in high school before Glee club was cool by the TV show. We called it show choir and I absolutely love to sing and dance and contemplated going into musical theatre. Funnily enough, going to a show choir camp (yes, they did exist) was what got me into video editing as someone did a scrapbook video and I hunted the person down (thank you again Jamie wherever you are) and asked him a million questions and he said all you need is a “firewire cable and record on a minDV tape” and the rest was history. (And yes, I’m that old my start was before tapeless media)
Advice you’d give yourself if you were just starting out?
That a Career doesn’t define you as a person. I am not just VFX Editor Shannon, no I am much more than that.