Third series of Channel 4 and AMC’s sci-fi drama. Humans primarily follows the Hawkins family – led by Katherine Parkinson and Tom Goodman-Hill – who discovered that their live-in ‘Synth’ Anita (Gemma Chan) has developed artificial intelligence, sparking a dangerous conspiracy that an entire generation of Synths could be capable of forming a human-like consciousness.
The 8×60-min third series begins one year after the dawn of consciousness. Set in a now divided Britain, a decimated and oppressed Synth population fights back against a world that hates and fears them.
The ethically complex and thrilling drama takes place in a whirlwind of political chaos, and through the multi-stranded narrative, the series once again leaves you wondering what it is like to really be ‘human’.
What The Flying Colour Company was asked to do
TFCC was once again awarded all of the VFX work for this series, which required almost three times the amount of VFX work compared to the previous two series.
The requirements included thousands of Synths needing individual eye treatment (2340 Synth shots in total) and brand-new effects being introduced as the story escalates. The latter generated 176 shots in total.
Other effects that we worked on for episodes one to five included; post-explosion FX; vehicle augmentation for a near road traffic accident; smouldering elements to soldering irons, blood and broken limbs; crowd replication; multiple news TV inserts; and various environment builds and changes
How we did it
TFCC put together a team of top senior Flame artists to tackle all 2500 shots in the series. Having created a bespoke set-up for the Synth eye enhancements in Series 1 and 2, the team worked together to apply this to multiple synths that populate series 3. The eyes were tailored to each Synth’s individual movements and manipulated to integrate with the various different environments.
This series also introduces new Synth models that required orange eyes. For these, we created the look and applied it throughout the series.
TFCC Managing Director Simon Wilkinson said: “We worked very closely with all of the series’ wonderful directors and the producer Vicki Delow to establish different looks for the environments, characters and the plethora of different effects that we used throughout the series. It was a terrific series to work on.”