A flagship project for TPO. William G Wright was based at Sky Elstree during the fantastic shoot, comping over 400 temps to feed the cut as it developed. Amongst the usual temps, we utilised a collection of generic direction, Paddington on green renders (POGs) laid out on the plates, to form the direction of the very important bear.
During Post, Matt Tinsley in-house supervised the compositing of over 100 finals, inc bluescreen windows, retimes, split screens, monitor inserts, god-ray addition, projector screen replacement, throwing rocks off cliffs, basejumping and of course the various Caboto additions.
A pleasure to work closely with overall VFX supervisor Alexis Wajsbrot, Animation director Pablo Grillo, VFX producer Nick King, Co-ordinator Owen Collick and VFX Production manager Jack Hawkes.
The all star line up of TPO compositors over the mammouth 16 month shoot and post period inc William G Wright, Ed Plant, Mike Connolly, Simon Leech and the legendary Vanina Gancheva.
Paddington in Peru
A big thank you to the entire TPO team for being outstanding partners in helping us create temps for the entire movie, as well as delivering over 100 exceptional comp shots, including the motion control comps for the Antonio Banderas Hunter/Cabotto scene!
Alexis Wajsbrot, Academy award nominee and Bafta award nominee, Overall VFX supervisor Paddington In Peru.