VFX BACKPLATES

We bring rare value to the screen through our natural history approach. Our streamlined crews allow us longer in the field, and this amounts to more money on screen and better imagery captured in camera.

SCALE REFERENCE FOR A MONGOLIAN TYRANNOSAURID
DIRECTED ON LOCATION IN JORDAN BY NICK LYON

Deserts, Jungles, Mountains, Poles - we're your team.

Our team have worked in some of the most hostile and remote locations in the world. We're used to protecting our gear, acutely aware of sensor dust and avoiding it! In straight natural history we are used to working without VFX - so have had to learn how to make the image look its most beautiful in camera. This breeds a different culture - we've never relied on "fixing things in post" - and this is music to the ears of our VFX friends and colleagues - because they don't want that extra burden either. Ultimately nothing beats the best natural light, in the most incredible, wild settings.

DR PAUL D. STEWART DEEP INSIDE THE EARTH
NAICA CAVE, MEXICO
Pictured above, Paul has been at the forefront of natural history for decades, getting into places few have dared to venture.

Best in the Business

"I have to say it was truly a dream to work alongside some of the best Natural history cinematographers in the business. There were several, but Paul Stewart – wow! The man has shot some of the most memorable natural history scenes in the past two decades. He has such a sharp eye and a keen sense of realism in composition, performance, and light. His notes were so detailed and spot on."

Andy Jones
in BRITISH CINEMATOGRAPHER

DIRECTOR NICK LYON WITH HIS VELOCIRAPTOR CREW
We have experience building local logistical support to keep foreign crew to a minimum. For maximum efficieny for a fully storyboarded VFX sequence 8 specialist crew members allowed for fast and efficient shooting.

Team Management - Field Crews

Depending on the complexity of the shoot and the number of shots required, our typical specialist teams can vary from 5 to 10 people. Add to that our local logistics, total crew size can vary from 10 to 20 people, dependent on the remoteness, and self-sufficiency required. By any reckoning this is a lightweight crew by industry standards. This allows us to spend more time in the field, and this is how we capture the most beautiful natural light and do a lot of the work in camera.

In these specialist crews we normally like to integrate your VFX team with our wildlife and cinematography crew. Our team being 5 people, your VFX team being 3, and two data wranglers that could come from either you or us (just remember our guys are used to tough remote locations!)

We really care about our teams so will work hard to make any shoot as enjoyable for your VFX crew as possible.

We have experience managing larger crews with up to five camera teams working simultaneously in the same remote location - but these operations are generally not required for 2nd unit or VFX work.

Skeleton Crews

Dr. Paul D. Stewart steps away from the camera to direct the action. Our streamlined crews allow us to work in less accessible, novel locations - often new and untapped by cinema. Smaller crews allow for longer shoots - where capturing ephemeral beauty now becomes the new gold standard.

Shadow Gang

Never forget those real world shadow passes! Focus on detail on these shoots is essential to avoid hidden costs down the line. Shadow passes are a basic must, but then we need to stay smart - its incredible how much money is saved by something as simple as sweeping a baked mud or rocky substrate. Much easier for VFX to add moving particles than deal with static ones that should be moving!

Scale and Performance Ref

Simple cutouts can give vital scale reference, especially for little known creatures. But beyond scale we'll frequently use our natural history knowledge to give performance passes. This not only gives our DoP timing practice for the clean (empty) passes, but can impart nuance to the animators. Of course these are always delivered with copious detailed notes.

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