Hoxton Redsox has opened as London’s newest visual effects (VFX) studio. Based in the heart of London’s East End, the company brings together a core team of VFX artists who have many years of combined expertise in post production gained from contributing to BAFTA, Emmy® and British Arrow-winning projects, plus expertise from working at industry-leading post houses.n nHoxton Redsox offers the full complement of visual effects services including look development, on-set supervision, 3D animation, compositing and finishing for broadcast, commercials and film. The new company recently completed post on two viral movies, through RSA Films, for Ridley Scott’s highly-anticipated motion picture “Prometheus,” which released in the UK on June 1, and in the US on June 8 2012. One of these, “Happy Birthday David” achieved 1.3 million views in its first 24-hours of release on YouTube.nn
n nHoxton Redsox was founded by Paul McGeoch, Giancarlo Bonati and Stefan Gerstheimer. For several years the trio worked on individual projects under the same roof, but also joined forces, working collaboratively on larger projects, hiring additional digital artists as required. With an ever-increasing workload, and the desire to broaden the type of creative projects they could attract, they have consolidated this expertise with the formal launch of Hoxton Redsox.n nMcGeoch’s fascination with CGI started while studying product design at Glasgow School of Art. After graduating he formed Pictures On The Wall, an award-winning animation company. Now, with more than 15 years experience, he has an in-depth knowledge of the production process with commercial credits for heavy-hitting brands such as Toshiba, Asics, Sony and Orange. He has also supervised spots and music videos for companies such as ISO, Partizan and RSA Films, including technically-challenging projects, such as Like Spinning Plates for Radiohead, the Emmy-winning Why The Towers Fell for BBC Horizon, and Darkroom for Philips’ Parallel Lines campaign, which won a British Arrows Gold.n nBonati was involved in advertising for over 15 years, before making a move into documentary production, when he became an associate producer of Dark Days, which picked up two awards at the Sundance Film Festival. He has been involved in visual effects for the past seven years, having worked at The Mill, Golden Square and Machine Effects. He recently supervised a four-minute CG film for Titanic Belfast, for which he also acted as lighting TD.n nGerstheimer is a well-respected veteran of the Soho post community, where he has supervised large teams of artists at leading houses including The Mill and MPC. He specialises in creature look-development for features, broadcast and commercials. His recent credits include the Gold British Arrow-winning Kerry Low Low Mouse commercial, and Spots vs Stripes for Cadburys, which won VES, British Arrow, Cannes Lions, APA and London International awards.nn”Giancarlo, Stefan and myself share a passion for creating great imagery, and have gained excellent experience working at the forefront of innovation in visual effects for a range of clients,” said McGeoch. “But instead of being separate links in a chain we wanted to be the entire chain. So we decided to move this forward with a collaborative style of service in the form of Redsox. As a boutique VFX company we offer the same high-quality imagery as larger post houses, but with a more personalised, dedicated service. Additionally, our location outside of Soho means that our overheads are lower and we can pass on that saving to deliver visuals that exceed expectations – both artistic and budgetary.”n nThe Hoxton Redsox team was responsible for post production on two of the three viral films for Ridley Scott’s Prometheus. These viral movies were specially commissioned by Fox and are widely recognized as some of the most successful ever – “Happy Birthday David” featuring Michael Fassbender, and “Quiet Eye” featuring Noomi Rapace, who both star in the film. nnnnVisual effects for both films were supervised by Paul McGeoch, who worked closely with RSA Films director/designer Johnny Hardstaff throughout the production. David was shot on a greenscreen stage at Pinewood Studios, with Michael Fassbender delivering a suitably eerie performance. In post, Hoxton Redsox built nine CG sets, including a city, and created various 2D effects, such as the Weyland logo ‘branded thumb’, before compositing and finishing all shots. Quiet Eye required a more 2D-specific solution, with Hoxton Redsox animating Hardstaff’s analytical artwork together with compositing and finishing.nn”Hoxton Redsox delivered outstanding work across an extremely diverse range of shots” said RSA Films Executive Producer Caspar Delaney.nnCredits “Happy Birthday David” and “Quiet Eye,” two viral films for “Prometheus,” produced by RSA Films, post production by Hoxton Redsox, for 20th Century Fox.nnAbout Hoxton RedsoxnHoxton Redsox‘s strength comes from a diverse range of skills coupled with a passion for creativity. We work very closely with our clients and pride ourselves on developing strong collaborative relationships. Our core team of artists has extensive experience on productions of all scales, and paired with a cost effective approach, means that we are able to deliver visuals that exceed expectations – both artistic and budgetary. We offer the full complement of visual effects services including look development, on-set supervision, 3D animation, compositing and finishing. Our dedicated team of smart, hard-working people have many years experience of working in visual effects at industry leading post houses and have contributed to BAFTA, Emmy® and British Arrow Gold award-winning projects. For more information visit www.hoxtonredsox.com.
Contact:
Paula Coombes Hoxton Redsox T:+44 (0)207 613 4572 Contact Paula via email
Contact:Ron Prince Prince PR T: +44 1225 789 200 Contact Ron via email
SPW Category:Production and Post-Production Products and Services
Pioneering The Visual Narrative: Bobola Oniwura’s Impact on Nollywood’s Cinematic Evolution
Bobola Oniwura
Nollywood is in the middle of a visual revolution, and at its core is Bobola Oniwura, the mastermind behind some of the industry’s most striking cinematic transformations. Oniwura is a pioneering colorist whose unique approach to film aesthetics has set new standards for how Nigerian stories are told on screen. From the gritty realism of King of Boys: The Return of the King to the vibrant energy of A Tribe Called Judah, Oniwura’s work has become synonymous with a new era of cinematic excellence, one where color grading is no longer an afterthought but a defining narrative tool. The film industry in Nigeria known as Nollywood has grown into one of the most prolific cinematic powerhouses in the world. Producing thousands of films annually, it ranks alongside Hollywood and Bollywood in terms of output. Once characterized by rapid, low-budget productions, Nollywood has undergone a remarkable transformation, embracing higher production values, diverse storytelling, and international recognition. The industry’s films now command global audiences, made possible by platforms like Netflix and Amazon Prime, and receiving acclaim at major festivals. This evolution has been fueled by creatives like Oniwura, who are redefining the post-production technical standards of Nigerian films. His impact extends beyond the color suite. Drawing on his background in Architecture and user experience research, Oniwura approaches color grading with an acute understanding of audience perception, crafting visual experiences that enhance storytelling, evoke emotion, and immerse viewers in the rich textures of Nigerian culture. His ability to merge technical precision with artistic intuition has positioned him as one of the most sought-after colorists in Nollywood... Read More
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