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Post-Production Company of the Year: The Mill

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Production & Post-Production
Visual Effects

Gold Winner

Entrant: The Mill, London
SSE - "Pier"

Corporate Name of Client: SSE

Agency Account Director: Joanne Murray

Agency Account Managers: Hugh Doddy/Rob Jones

Agency: adam&eveDDB

Creative Directors: Graham Cappi/James Gillham

Agency Producer: Panos Louca

Production Company: Academy Films

Director: Frederic Planchon

Producer: Lucy Gossage

Director of Photography: Patrick Duroux

Post-Producer: Tim Lyall

VFX Executive Creative Director: Neil Davies

VFX Supervisors: Hitesh Patel/Sam Driscoll/Matt Fuller

VFX 3D Leads: Sam Driscoll/Jorge Montiel

VFX 3D Artists: Matt Fuller/Giacomo Cavalletti/Daniel Kmet/Sauce Vilas/
    Phillipe Moine/Emanuel Strixner/Florian Mounie/Ed Sherwood/Peter Agg/
    Cristobal Infante Esquivel/Adam Durrah/Anthony Northman/Josh Docherty

VFX 2D Artists: Grant Connor/Paul Downes/Ed Poulson/Anne-Sofie Tholander

2D Lead Artist: Gary Driver/Greg Spencer

Animators: Sam Driscoll/Jorge Montiel

Editing Facility: Assembly Rooms

Editor: Sam Rice-Edwards

Assistant Editor: Joan Gill

Matte Painting: Marie Tricart/Alex Caldow

Post-Production Company: The Mill

Description of the Project:
‘Pier’ is part of the next installment in SSE’s multi-award-winning ‘Proud to Make a Difference’ campaign. The VFX team worked to re-craft orangutan Maya entirely in CG, developing her muscle movements and character.
The film sees a 100% CG photo-real Orangutan called Maya experiencing the wonders of energy in all their manifestations; discovering a funfair and encountering a wonderland of light, sound and movement.
The VFX team went to extraordinary lengths to create an orangutan that looked 100% photo-real, crafted entirely in CG. The team developed muscle movements and sculpted each skin wrinkle by hand, before seamlessly comping the orangutan onto live action plates of a busy pier and funfair. The skeleton was built first starting from very loose blocking to small details such as wrinkles and pores of the skin - Maya’s rig was then developed in-house, with the muscle system adding an extra level of weight to aid realism. The team created a system that enabled the development of realistic hair movements on the windy ride. The team built a custom eye rig in which the pupils dilated and contracted depending on light conditions and a small amount of liquid was added into each eye to give it a sense of depth.