Netflix

White Lines

Client
Netflix
Format
TV series
Release Date
15/05/2020
Brief

Provide supervision on-set in various locations, transform various landscapes with sky and weather replacements, including storms, lightning and rain. Create the illusion of a glass eye replacement and period fixes taking the audience back to Manchester in the 1990s

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Back in February 2019, not long after Jellyfish Pictures completed work as the main vendor on The Innocents, for Netflix, Luke Dodd, Director of VFX and Jonathan Cheetham, VFX supervisor met with Chris Croucher at Left Bank Pictures, to discuss his new Netflix series.

After scripts had been finalised, the VFX team at Jellyfish Pictures were recruited to work on multiple occurrences of weather and sky replacement including storms, rain and lightning. The team also helped on a lot of period clean up, as well as a glass eye replacement.

To help Chris and his team on-set, Jonathan Cheetham flew out to supervise across five episodes in total, in the deserts of Almeria and the Mallorca coast.

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Back in the UK, using Photoshop to create concepts and digital matte painting, Houdini for rain sims and Nuke to piece it all together with lightning and dramatic grades, Jellyfish began work on the opening sequence of the first episode of the series, a desert storm revealing a mummified body buried in the ground.

There were thirty more shots that followed, including a multi-plate composite of one of the villain characters in the show, tapping his glass eye, as well as complicated reflection removals from all the sunglasses the characters wore in the Spanish sun and period fixes when time flashed back to Manchester in the 1990s.

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