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  • RSP were brought on early in the process to develop the look of the Goblet of Fire & age line, with a brief for it to be “Magical, but not science fiction”.  With a few paragraphs from the novel, and some conceptual sketches from production, RSP concentrated on developing their digital flame toolset and a custom compositing setup to archieve the look and character of the flame, initially described in the novel as a ‘magical blue dancing flame’.  As the project progressed, additional effects sequences were awarded that allowed RSP to extend the use of digital flames in a flaming firebird, which was taken from concept to implementation in the final months of the project.  The finished product was one that blended seamlessly in to the magical world of Harry Potter.

    The collaboration with the production team in the UK and RSP was achieved via interactive reviews using cineSync, which utilised conceptual breakdowns, Research & Development tests, and multiple Composite iterations.   These submissions ensured that Jim Mitchell & Mike Newell achieved the look they were aiming for, and also ensured that the effects fit in to the film overall.  Shots that were approved to go to film in these reviews were sent to film via sohonet, overnight to the UK from Australia.

    RSP were brought on early in the process to develop the look of the Goblet of Fire & age line, with a brief for it to be “Magical, but not science fiction”.  With a few paragraphs from the novel, and some conceptual sketches from production, RSP concentrated on developing their digital flame toolset and a custom compositing setup to archieve the look and character of the flame, initially described in the novel as a ‘magical blue dancing flame’.  As the project progressed, additional effects sequences were awarded that allowed RSP to extend the use of digital flames in a flaming firebird, which was taken from concept to implementation in the final months of the project.  The finished product was one that blended seamlessly in to the magical world of Harry Potter.

    The collaboration with the production team in the UK and RSP was achieved via interactive reviews using cineSync, which utilised conceptual breakdowns, Research & Development tests, and multiple Composite iterations.   These submissions ensured that Jim Mitchell & Mike Newell achieved the look they were aiming for, and also ensured that the effects fit in to the film overall.  Shots that were approved to go to film in these reviews were sent to film via sohonet, overnight to the UK from Australia.

    Credits & Crew
    Rising Sun Pictures:
    Rising Sun Pictures:

    The Gravity re-entry sequence took 40,000,000 megabytes of diskspace.
    Contact us:

    Level 1, 180 Pulteney Street Adelaide, South Australia 5000 Australia

    +61 8 8400 6400 vfxinfo@rsp.com.au

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    Contact us:

    Level 1, 180 Pulteney Street Adelaide, South Australia 5000 Australia

    +61 8 8400 6400 vfxinfo@rsp.com.au

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