My contribution to this ad is typical of my usual: bits and pieces everywhere, not claiming to a whole lot, and yet stuck on to it like bees in a hive (funny metaphor methinks).

I took HDRs during the shoot and assisted in the vfx supervision. Meanwhile, back in the studio, to the advice of Will Brand, we had laser-scanned reference shells and Terry was busy cleaning them up. Afterwards, I rigged the crab as other work continued on it.

I tracked and set-up most (if not all — can’t really remember) the shots, including the base lighting found in the HDRs. I had only one scene on my name, but, inevitably, at the tail-end of the commercial, when the producer started ending the contractors’ terms, Terry and I were left to fix up the needed bits for the Flame op.

That sort of arrangement is often the case with jobs that require a number of people; as the quasi-core group, a lot of the heavy lifting goes to the contractors who are hired especially for that; when the bulk of the work is done, whatever other technical issues that require sorting often comes down to us, because by that time, the producer has decided it’s costing too much to have contractors hang on (oftentimes I think the reason is that the producer has hired too many guns to begin with). And that’s why it sometimes feels like we’re clean-up men.