Post Magazine

April 2015

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Page 21 of 51 20 POST APRIL 2015 elevision shows such as Game of Thrones and Black Sails have been recognized for outstanding achievement in visual effects and credited with raising the bar on the quality of work being done for the small screen. Over the past year alone, we've seen the unbelievable become real, right before our eyes, as we're transported to Victorian-era Lon- don to witness Dr. Frankenstein create life from death on Showtime's Penny Dreadful or to a world where cloning is a reality in BBC America's Orphan Black. Viewers will soon have the chance to visit the mythological world of 2,000 B.C. in SyFy's new Olympus series, and go beyond the traditional 1s and 0s look often used to depict the Internet with more than 120 visual effects per episode in CBS's newest CSI: Cyber. ABC, too, was quite ambitious, as it brought Mar- vel's feature-film quality effects to TV for Agent Carter. Here, Post speaks with the studios and VFX supervisors behind these shows and more, who are pushing the limits of VFX for TV. AGENT CARTER Born from Marvel's blockbuster Captain America film franchise was heroine and military officer Peggy Carter, played by Hayley Atwell. The character has been so popular with moviegoers that she earned her own starring eight-episode run on ABC in Marvel's Agent Carter, which recently wrapped (episodes are available through iTunes, Hulu and on-demand) and looks to be grabbing a spot in the newest Avengers sequel, Avengers: Age of Ultron, coming out in May, as well as Marvel's Ant-Man, to be released this summer. Right from the start, visual effects supervisor Sheena Duggal, with feature film credits that include Thor: The Dark World, Iron Man 3, The Hunger Games, and Spider Man 3, says the bar was set high for the show's visual effects. "It was kind of a passion project for a lot of us, trying to get this Marvel hero, with these powers that men underesti- mate, to television," says Duggal. "ABC had never really done this kind of big visual effects show, where we ended up doing in the 20 weeks that we prepped and shot and posted 1,038 visual effects shots, which is an enormous number. And, T BY MARC LOFTUS AND LINDA ROMANELLO Studios Take TV Visual Effects To New Heights, Despite Limited Time And Budgets BIG-TIME EFFECTS FOR THE SMALL SCREEN

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