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.

• Information from Brand South Australia

Other related ADELAIDEAZ articles

South Australia's firm Southern Cross backs films by Raymond Longford from 1917

In its short life, South Australia’s Southern Cross Feature Film Company made some of Australia's most famous silent films, mostly directed by Raymond Longford. Adelaide businessman David Gordon was a prime mover in setting up the company in 1917. One hundred shares were offered at £1 a share. Southern Cross said it would make five dramas and three comedies over the next 12 months. Another report predicted making “six or eight five reelers” over 12 months. It offered cash for Australian stories but initially employed American Walter May Plank as film director. When Plank left Australia, Raymond Longford was called in. Longford’s first feature for Southern Cross was the successful The Woman Suffers (1918), followed by two hits in the UK and US, The Sentimental Bloke and Ginger Mick, based on the poems of South Australian-born C. J. Dennis. In 1920, the buoyant company paid a dividend of a shilling per share. In that year, Southern Cross Picture Productions Ltd was incorporated with a value of £37,600 and directors including E.J. Carroll, Snowy Baker and David Gordon. Carroll-Baker Australian Productions made films starring Snowy Baker and had a five-twelfths interest in Southern Cross Picture Productions. The company made The Jackeroo of Coolabong, Rudd’s New Selection and The Blue Mountains Mystery. Southern Cross financed an interstate film, Longford’s The Sentimental Bloke (1919), the most profitable Australian feature film to date. It also had success with Ginger Mick, another character created by South Australian-born poet C. J. Dennis.

'Chic' Arnold brings vaudeville showbiz flair to promoting films at the Majestic theatre

Tom “Chic” Arnold brought showbiz flair from his vaudeville days to Adelaide filmgoing in the 1950s with a colourful string of premieres during his time as manager of the Majestic theatre in King William Street, Adelaide. Arnold’s show business experience went back to his part in vaudeville of the 1920s. A booking for an outdoor show at Adelaide’s Semaphore beach in the early 1920s that set him on a professional vaudeville career that took him to the USA and UK.


Robert Stigwood of 'Hair', 'Saturday Night Fever', 'Grease', Bee Gees fame a revolutionary

Port Pirie-born music mogul Robert Stigwood managed the Bee Gees at the height of their fame and guided musician Eric Clapton's solo career while producing film (Grease, Evita, Tommy, Saturday Night Fever) and stage (Hair, Jesus Christ Superstar) musicals to international success. Educated at Adelaide's Sacred Heart College, Stigwood began his working life as a copywriter for a local advertising agency before moving in 1955 to England. With Stephen Komlosy, he founded Robert Stigwood Associates, a small theatrical agency. Among its clients was actor and singer John Leyton whose unexpected success as a recording artist made Stigwood and associate Joe Meek into Britain's first independent record producers. Stigwood revolutionised the role of music managers in England by moving into music publishing and promoting concerts. But his biggest contribution to the British music scene was independent record production. Stigwood worked with a many ground-breaking acts on the pop charts, with Cream and the Bee Gees, and on the Broadway stage, producing counter-culture hits Hair and Jesus Christ Superstar. He also produced 1996 Hollywood film Evita, starring Madonna. It won an Academy Award for best music and a Golden Globe for best film. Stigwood had earlier backed the ground-breaking film of The Who's rock opera Tommy.  After the hit Grease, Robert Stigwood Organisation Films made Saturday Night Fever, one of the biggest hits in the history of the business. It introduced disco music and a young John Travolta while propelling the Bee Gees to global stardom.


Flamboyant John Bruce creates Freemasons grand lodge, Carclew and Electra House

The Freemasons Grand Lodge (1923) on North Terrace and Electra House (1900) on King William Street were two of the most flamboyant creations of John Quinton Bruce. He also designed notable residences including Stalheim on Montefiore Hill, North Adelaide, later renamed Carclew by Langdon Bonython when he bought it in 1908. Bruce won design competitions for the Woodville Institute and for the Citizen’s Life Assurance Building, also known as Electra House, in King William Street, Adelaide.


Penman & Gaibraith bring lithography to Adelaide, used by Alexander Schramm

Lithographers John Penman and William Gaibraith, who founded their business in Adelaide in 1849, enabled early colonial South Australia’s most accomplished professional painter Alexander Schramm to reproduce his works. A booksellers’ son, Penman had been apprenticed to Glasgow lithographers Allen and Fergusson. In 1845, Penman went to Liverpool and then London where he lithographed railway plans and met William Gaibraith. They noticed a pamphlet on South Australia by John Stephens of the Adelaide Observer and South Australian Register extolling a place where "butter was so plentiful and so cheap that most people were in the habit of greasing their boots with it". The two young men decided to emigrate to this “touch of Paradise” and arrived on the Hoogley at Port Adelaide in 1848. Penman bought printing material from George Hamilton, a clerk in the Treasury and amateur draftsman and painter, and set up offices with Gaibraith in Grenfell Street, Adelaide.  In 1862, they were advertising their business as: “Penman and Galbraith Lithographers, Engravers and Copper-Plate Printers, 60 Rundle St, Adelaide." Other addresses of the firm moved from Grenfell, Pirie. Rundle and Currie streets before their partnership dissolved in 1885. Penman set as "Lithographer & Engraver" in Pirie Street and continued until 1890. Galbraith probably worked with his son William, with the name "Galbraith & Son, engravers and lithographers" of Gresham Street, Adelaide, appearing in 1886. William Galbraith also is recorded until his death as a lithographer in Charles Street, Norwood. His son William continued at various addresses as an engraver, lithographic artist, or lithographer until 1918.


With influx of expertise from the 1980s, Adelaide Zoo leaps ahead in design of its eco exhibits

The 1980s influx of landscape architects, wilderness horticulturalists, graphic designers, engineers, audio-specialists and conservation scientists have catapulted Adelaide Zoo to a leader in its animal exhibit design. Besides the panda enclosure, one of the stunning 20th Century additions has been South-East Asia exhibit, known as Immersion, providing visitors with the experience of walking through the jungle, with Sumatran tigers and orangutans seemingly within reach.

Contact Us

We welcome positive constructive feedback