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George Best | All by Himself

11 February 2016
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Tina & Bobby

Blue Spill delivered over 80 VFX shots for ITV’s Tina and Bobby, including compositing 1960’s West Ham stadium and re-creating the World Cup final at Wembley stadium. Working with VFX Supervisor Tanvir Hanif, whom we’ve previously collaborated with on Jonathan Creek, we also worked with CG artists from Fifth Wall to re-create the infamous World Cup final.

Listen to me Marlon

Having worked with director Stevan previously (Fire in Babylon, Bond; Everything or Nothing), we had some early meetings to discuss style and his unique narrative approach. Without the use of talking heads, Stevan’s use of archive was incredibly important. We also needed to consider Stevan’s reconstructed footage, which initially sat too clean in the edit and required…

American Murder | The Family Next Door

Motion design for Netflix / Knickerbocker’s True crime documentary Blue Spill created over 25 motion sequences for Netflix’s American Murder The Family Next Door.  We worked closely with the London based team, in developing a look for the film’s graphical elements, which compromised quite a lot of the film. Our two main areas of focus…

The Man from U.N.C.L.E.

Blue Spill designed motion sequences for Guy Richie’s The Man From U.N.C.L.E. Initially we came on board for two sequences, which was later extended to three. Our key focus were two split screen sequences within the film, which were around three minutes in length. Inspired by the iconic 1960’s split screen style, we also looked to modernise the…

Assassin’s Creed

Having worked with VFX producer Sarah Tulloch previously (The Man From U.N.C.L.E.), we came on board the final stages of post to look at two sequences. One was the opening title animation, and a secondary sequence when Michael Fassbender’s character dies.  Our key focus was the title animation. We worked closely with VFX Supervisor and director Justin…

Homegrown | The Counter Terror Dilemma

Untouchable

Having worked with director Ursula Macfarlane and editor Andy Worboys previously, Blue Spill was involved early during the editing process for initial conversations. As the cut developed we became more involved, designing several in film sequences for the film, which premiered Sundance 2019. Our early conversations with Urusula were directed around her thoughts for how she…

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Anthony Brownmoore used Flame to complete almost thirty shots, most of which involved heavy clean up work, such as removing modern details to sit within the era. We also worked on shots to fix or complement performance, including mixing multiple takes together. We worked closely with VFX Supervisor Tanvir Hanif, who was operating Fusion. Our…

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