Resin was brought on as one of several vendors in season 1. Unknown to many of the key people we had to earn our stripes and as the series progressed, Resin’s work won the supervisor and producers over. Our work secured a primary role on season 2 and season 3. We must have completed well over 1000 shots across the franchise including a lot of CG environmental work, blood and gore, prosthetic limb replacements, augmentation, CG vehicles, weaponry and an anaconda.

It is this type of relationship that speaks of the value Resin provides and the working relationship and how easy we make it for our clients. We work to problem solve where needed and are genuinely easy to supervise in terms of dealing with notes. Our systems and processes for managing large volumes of shots, creative and technical reviews and iterations make working on series of the scale of La Brea an easy process for the showrunners and supervisors.

It was our absolute pleasure to work on the Elvis biopic and to collaborate with the film’s Director, Baz Luhrmann, and his brilliant VFX team including Tom Wood and Fiona Crawford.

From its South Australian studio, Resin’s team of VFX artists completed approximately 200 shots for Elvis. We were steadfast in bringing authenticity to the way the shots told a story of the music industry in the 1950’s, fame and the indelible personalities of Elvis and Colonel Tom Parker.

Over a period of approximately 12 months, Resin provided pre-viz for several hundred shots and then moved on to produce 200+ vfx shots and various assets. Resin worked on key sequences of the film including Colonel Tom Parker’s nightmare, the famous NBC Studios Comeback Special and the final hero shot of the film.

Testament to Resin’s capability, quality, and efficiency, our scope of work continued to expand as we were engaged to work on other scenes in the film. A highlight of our contribution to the film, was our work with Tom and Fiona to develop and execute an entirely new approach to Colonel Parker’s nightmare sequence in keeping with the Director’s vision.

An overview of the VFX work we completed includes full CG shots, set extensions, bluescreens, cosmetic corrections, replicating and syncing over 400 guitarist performances on a 3D virtual set and bringing the NBC Studios control room to life to reflect the look and feel of the era with environment extensions, stage integrations, performance integrations, broadcast monitors and equipment in the control room.

We are proud of the VFX produced by Resin’s team of artists for the Elvis film; and of our sister company, The Post Lounge, who provided post-production services.

Resin was privileged to work with eOne and now Lionsgate on the hugely popular Yellowjackets series now in its third season. Off the back of the experience in working with us on season 2 Resin was engaged as primary vendor for season 3 and an additional series for Lionsgate. Our work has included beauty fixes, chroma key comps, environmental work, simulated travel, blood and gore, augmentation and some CG. The growth of this relationship, a testament to the work of our team and the experience of working together.