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.
Historically, the visual effects (VFX) industry has a male-dominated workforce. Gender disparity runs across the board, but is especially evident in artist and supervisory roles, where women occupy a small fraction of positions, and have for decades. But, at long last, that is slowly changing. Even as female-led blockbusters like Captain Marvel, Wonder Woman and Rogue One: A Star Wars Movie have taken the box office by storm, women have begun to turn up with greater frequency on VFX studio
As Head of Business Development and a member of the Executive management team, Jennie Zeiher leads the team responsible for the visual effects studio’s forward slate of high-quality film and series projects.
This month nearly three dozen aspiring visual effects (VFX) artists arrived to study full-time at Rising Sun Pictures (RSP) in Adelaide, South Australia to take part in the studio’s highly-regarded training programs. Some will be students from the University of South Australia (UniSA) who will be undertaking the third year VFX specialisation towards their Media Arts degrees. Others will be enrolled in RSP’s Graduate Certificate program, an intensive, 12-week course offering advanced training
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
