Wednesday, July 4, 2007


City Homicide is a new police drama produced by Seven which aired earlier this year.

Chroma was brought in to provided a wide range of production solutions with the sole aim of delivering high-end visuals, stunts and effects for the limited budget and tight schedule. Chroma's Scott Zero worked as VFX Supervisor on the first six episodes and worked closely with series Directors, DOP (Craig Barden), Stunt coordinators (Zev - True Grit) and practical effects (Brian - FilmFX) to create several high-end effects sequences far exceeding the shows budget.

Some VFX shots included:

• A huge sequence inside a burning house where two children and trapped by an arsonist, to be later saved by the City Homicide team. The sequence involved a massive practical 'burnable' set (built and overseen by Brian Holmes) rigged with practical flame rigs, smoke machines and removable walls. Due to the tight confines of the rooms and the safety issue with actors and children in a burning set, the practical flames were later augmented with digital flames. 3D tracking was used to add huge flames, digital sparks, smoke and heat convection to the 6 minute sequence.

• A 'one-shot' scene where an actor strolls into traffic and is struck by multiple vehicles to the shock of onlookers. Created using multiple plates and a separate jerk-harness rig shot against green screen, acquisition took only an hour yet delivered a visceral an unexpected shock to viewers as the wide angle and hand-held camera give no clues as to what is going to happen.

• An in-vehicle car accident which involved a studio shoot combining a practical car, body drop rig and rain machine with HD rear projection featuring VFX content created to convey the convincing illusion of the car hitting multiple objects and spinning out of control. The final shot creates a claustrophobic, dramatic accident scene from two separate angles for a fraction of the cost of a location/low loader style shoot and the entire effect was produced in camera with no post required.

• Several exterior views of a commercial airliner in mid-flight created to match the interior set. This high-poly model was created with custom livery and featured volumetric clouds. The final shots were rendered at 4k and pulled down to 1080 to give it the clarity of high altitude footage.