Banshee associate producer
Gwyn Shovelski talks VFX
For those of you lucky enough to have discovered
Banshee on Cinemax, you know just how fun a ride it can be… and just how violent. The amount of blood spilled would make Quentin Tarantino proud.
The show recently finished its third season of action-packed goodness, and while the episodes featured many in-your-face visual effects — I urge you to
check out “Chayton’s Death Scene” on YouTube — courtesy of
Zoic Studios, there were also many effects that were just, well, face effects.
If you are a viewer, you know that most of the characters aren’t who they appear to be, and the audience is let in on their back stories via flashbacks. That is where
Technicolor Flame artist Paul Hill comes in… de-aging for a few cast members in a digital, yet seamless, way.
But that’s not all Technicolor provides, says the show’s associate producer, Gwyn
Shovelski. She typically hands Hill 50-plus shots per episode, ranging from a modesty patch (it is Cinemax so there might be a lot of these) to costume fixes, monitor comps, cosmetic fixes, de-aging, boom shadows, muzzle flash additions, crew and/or equipment removal, reflections and flares.
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