We completed the VFX work on the Pentagon Kitchen sequence where we see Quicksilver use his powers to stop the rest of the team from getting shot by security guards. He does this by running around the room and setting up little vignettes during the sequence that play out at the end as we return to normal time. As a result continuity across the entire scene was crucial.
RSP produced more than 170 final visual effects shots for Thor: Ragnarok. Our team spent more than 18 months helping to craft some of the film’s most memorable, creative and technically challenging scenes. This included a sequence dubbed “Val’s Flashback” involving a furious battle between the film’s villain, Hela (Cate Blanchett), and an army of Valkyrie. The team also played a key role in “The Palace Battle”, an
RSP helped to recreate one of the most thrilling events in the history of auto racing for Ford v Ferrari, a film from 20th Century Fox and Director James Mangold. The studio produced 223 visual effects shots for the film, the majority for an 8-minute sequence depicting the first “24 Hours of Daytona” race in 1966. We created a historically-accurate, digital replica of the famous speedway and filled it with cheering
RSP worked on five of the Harry Potter films and created many memorable moments, including the magical blue flame in the Goblet of Fire, the Order of the Phoenix headquarters which magically appears, Professor Slughorn's transformation from “chair” to human form, and the amazing reassembling of his room in Harry Potter and the Half Blood Prince, and the Dementors, the interior of the Ministry of Magic, and contributed to
We served as lead vendor and were responsible for designing the main character. We created a fully-digital, photo-real Charlotte (the spider), and implemented her into all shots. The anthropomorphic spider has more than 20 minutes of screen-time and her presence had to be realistic and convincing both from naturalistic and emotional perspectives. We worked on Charlotte and her webs over an 18-month period.
RSP created the climactic re-entry sequence at the end of Gravity, where the space station Tiangong makes an uncontrolled descent in to the earth’s atmosphere. It meant a fully digital environment including CG space station, re-entry pod, earth, flames, plasma, destruction, and as Director Alfonso Cuarón always said, lots of PERIL!
Award-winning visual effects studio has achieved long-term success by sticking to its values and earning the trust of the world’s top film studios.
Adelaide, South Australia—May 11, 2020 — Rising Sun Pictures (RSP) today marks its 25th anniversary. It’s another milestone for the visual effects studio which, from humble beginnings,
M E E T BHAKAR JAMES
Generations of the James family have called the town of Durban in South Africa home. However, for Bhakar James, living there is a distant memory. When he was four, his parents took him and his two sisters, left South Africa and made the journey to South Australia to start a new chapter.
M E E T M A T T S H A W
As a kid growing up in Australia in the 80s, cruising the streets and dirt tracks on your BMX bike was a way of life. Matt Shaw was a true Aussie kid, embedded in this BMX Bandit culture and the great outdoors. He lived for adventure and exploring and spent as much time as he could outside. Hours were spent yabbying in the creek, fishing, going to the beach and snorkelling. He was fascinated with the underwater world, and for many years he wanted to be marine
