SHARK ATTACK 360

Our initial task was to deliver a pitch that would meet expectations and then exceed them. Being all about the visuals, we created a 2-minute sizzle reel and a series of bespoke images that encapsulated our vision. It did the trick. In a thrilling collaboration with Arrow Media, Little Shadow took on the ambitious task of creating the visual effects (VFX) for “Shark Attack 360,” an 8-part series for Sharkfest 2024.

This series, lead by acclaimed marine biologist, Diva Amon dives deep into the world of shark bites, with her team of specialists, investigating and unravelling the mysteries behind these fascinating, yet fearsome creatures.

The shoot took place at the iconic Collin’s Music Hall in Islington, London. This multi-storey, underground rotunda, though unfinished, provided the perfect brutalist backdrop for the series. To ensure unrestricted movement through the location, Little Shadow collaborated with Lidar Lounge to create a detailed create a 1:1 replica Lidar scan of the space. This digital twin served as the foundation for planning every shot in intricate detail. Then, in our studio in Farringdon, London, we dedicated two weeks prior to the shoot to meticulously plan each and every shot for the eight episodes with Director, Martin Cass who had a great eye for detail and pre-planning.

This meant that when it came to shooting, everyone including Diva knew what they needed to be doing. As a result of this pre-planning, we ended up finishing early on the last day! It also meant that during post-production, we could present the artists with a clear vision for each shot, avoiding the need to interpret scripts or rough storyboards hastily drawn on the back of a piece of paper.

On set, the A camera was a Sony FX9 with a Zeiss suite of CP.3 XD lenses, supported by Ncam camera tracking (now ZEISS CinCraft Scenario). Two additional FX6 cameras served as the B and C cameras. A large greenscreen at one end of the location acted as a portal to the ocean and other environments, real-time composites with sharks swimming around Diva and her team. 

The raw camera footage, along with camera tracking data, was processed through Little Shadow’s on-set VP Box, allowing live matte passes and composites of Diva with keyed backgrounds, sharks, and props to be recorded on every take. This enabled the creation of sequence edits, including composites, within hours of the shoot, allowing for quick review by executives and the channel.

Once into Post the shots were turned over to us and we were unleashed into a well organised process of shot turnarounds. In post-production, Little Shadow seamlessly blended real-world photography with the digital twin of the lab, staying true to the original brief.

The lab scenes featured a variety of environments, from the open ocean to murky riverbeds, shipwrecks, and even views of the Earth and Moon. These elements played a pivotal role in the investigation process, creating a versatile space where Diva, her team, and the digital sharks could coexist.