Resin studio in Adelaide proves small is beautiful with world-class film VFX and animation
The Mr Percival pelican created by Resin's Adelaide studio for the 2019 Storm Boy film and, at right, Resin VFX producer Lincoln Wogan and VFX supervisor Grant Lovering.
Image by JKTP, courtesy Brand South Australia
Adelaide’s Resin boutique studio was the primary visual effects (VFX) seller for the Storm Boy 2019 film remake, creating a digital double of the famous pelican Mr Percival, along with ocean and storm VFX. It did all of the visual effects shots and titles for Kriv Stender’s Red Dog, and has contributed to other films such as Electric Dreams, Where the Wild Things Are, Rogue, Forbidden Lies and Netflix series Tideland.
A core expertise in visual effects, character and creature animation allows itsboutique size to expand to meet the needs of feature films. Despite a small full-time team, Resin prides itself on being able to tackle anything and execute to a world-class standard.
The core is built around a foundation of design, technical knowhow and over a decade’s experience across on-set effects. It enables Resin to across all facets of visual effects, character and creature animation including pioneering work in augmented reality where Resin it won best new app in the national awards.
Resin was started in 2004 by Grant Lovering and Lincoln Wogan. It has collaborated with the world's leading agencies and production companies to produce work for brands including Disney XD, Electronic Arts, Lennox, Mitsubishi, Bridgestone, Michellin, Yalumba, Jacob's Creek, News Limited, SA Tourism, SA Lotteries, Great Southern Rail and Savings & Loans.
Resin expanded with studios in Melbourne and Brisbane in 2018. But it is keeping its headquarters in Adelaide where revolutionary high-speed internet networks, courses in VFX and post production at universities and private institutions, and a growing reputation for world class visual effects work are all supporting its ability to compete internationally. South Australian Film Corporation’s uncapped 10% post-production rebate from 2017, to attract more large budget and international projects, has been another boon.