Artem coverage june december 2015 with intro

Artem June - December Coverage 2015

Compiled by tpr media consultants

tpr media coverage June - December 2015

Take That tour Artem Profile Building Macbeth The Orrery Sunset Song

Artem Coverage Overview June to December 2015 The last six months highlighted the range of Artem’s range of work in terms of publicity with dozens of pieces across print, online, TV and radio. This is a brief overview of recent highlights: In June, the Take That tour provided a great opportunity for us to get in touch with mainstream print outlets interested in popular culture and events. This led to a feature in the Mail on Sunday’s Event magazine (weekly circulation of 1,444,397). Alongside this profile piece, we also secured substantial trade coverage for the campaign through outlets including Event Industry News and Total Production International.

Meanwhile the annual summer Open Day provided a chance to introduce Artem to new press contacts faceto-face and through hands-on experiences, resulting in a 10-minute video news story on the BBC News Entertainment & Arts site – ‘How to blow up a car and other film special effects’. This was one of BBC online’s most shared stories of the week.

Alongside this project based coverage, we’ve also secured profile and positioning pieces in a variety of outlets.

Mike was interviewed for Radio 4’s The Film Programme series on experts who work behind-the-scenes in cinema. Artem profile features ran in Retail Design World and Develop 3D too. In July, Stylist magazine ran a double-page spread on Artem special effects technician Emily Pooley’s job role and project portfolio while the following month SFX technician Will Wyatt took the spotlight in Time Out’s ‘Quit your job, become a…’ slot.

But the biggest PR success of the year was undoubtedly Macbeth, boosted by the high profile cast and diverse range of effects created by Artem. Highlights included a TV feature on CNN, features in the Evening Standard and on Bloomberg.com, and an interview with Mike for top film website Moviescope.

As the year drew to a close, the Christmas Orrery for Selfridges was received very positively, especially by trade and industry publications including Creative Bloq, who voted the window display the ‘best of 2015’.

The value of this coverage is difficult to estimate, but I thought it might be helpful to give a couple of examples of AVE, the standard industry measure. It would normally cost around £30,000 to place a full page advert in Daily Mail’s Event magazine, for example (depending on the position of the page), and – as editorial is considered to be significantly more influential than advertising – a whole page of editorial is thought to be worth three times this, around £90,000. By this measure, Will Wyatt’s profile piece in Time Out (which charges £8400 for a page of advertising) has an AVE of £25,200, while Emily Pooley’s interview in Stylist has an AVE of £21,900.

Though these figures may be taken with a pinch of salt, we feel they provide a good indication of the value of PR. This coverage is due – in part – to the strength of Artem’s recent projects and the varied angles the stories have presented as well as the benefit of having Frances Thomson in-house to help share stories and source materials.

In many cases however, coverage in the last six months has resulted cumulatively from relationships built through conversations about smaller projects earlier in the year (such as Ex Machina, for example). Equally, we anticipate that more long-lead coverage may result from recent correspondence. Michael McKenzie from BBC London TV, for example, is keen to arrange a profile piece in the new year, following discussions about Artem’s work on Macbeth.

Take That tour

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Take That ride flying bicycle on 2015 arena tour with the help of Artem SFX www.eventindustrynews.co.uk /concerts-touring-news/take-that-ride-flying-bicycle-on-2015-arenatour-with-the-help-of-artem-sfx/ Adam Parry Concerts & Tours

Adam Parry June 23, 2015 Artem SFX, an award-winning physical special effects company, was recently commissioned to work with Show Director Kim Gavin, Production Director Chris Vaughan, Production Designer Misty Buckley and Art Director Dan Shipton to create the impossible, building machines for ‘flying’ and ‘underwater’ scenes among an extensive range of special effects for Take That’s 2015 arena tour.

25 Artem technicians created props including a Penny Farthing tricycle and giant human ‘hamster wheel’, a spectacular ‘copter-bike’, a huge ‘underwater’ garden scene, a collection of shadow puppets and a mirrorclad piano.

The opening sequence of the tour, which opened on 27 April 2015 in Glasgow and ends in Milan, Italy on 13 October, features Artem’s Penny Farthing tricycle and giant ‘hamster wheel’ props, both constructed from scratch. The trike was designed to be assembled by a ‘mechanic’ character as part of the on-stage action, before it is ridden around the staging. It is then mounted against the ‘hamster wheel’, giving the

impression that the trike is driving the wheel round, generating the electricity to ‘power up’ the concert.

As the wheel is being turned the mechanic climbs inside and continues his performance running and tumbling around as his assistant pedals the tricycle. The design of these props was carried out in close consultation with the creatives and performers to ensure all of the actions and acrobatics could be carried out as planned.

Alongside this, Artem was also commissioned to construct a ‘copter-bike’ for an aerial performance from all three band members. Gary Barlow, Mark Owen and Howard Donald take flight from the stage and fly around the arena on the beautiful period-style bicycle with rotating propellers and a streamlined cockpit side car.

Artem initially drew and rendered the design for this bike using 3D design software before a significant mechanical engineering process to ensure safety. The final construction incorporated electrically-powered propellers above and to the rear, alongside a small 12v smoke machine to produce realistic puffs of ‘exhaust’. One major feature of the mechanical design was the inclusion of a steering mechanism allowing Howard Donald to ‘steer’ the bicycle as it flies around the arena.

Perhaps the most involved build of all started with Artem’s brief to create an ‘underwater garden’ set, comprising numerous inflatable elements constructed from a mix of ripstop nylon and clear PVC. These included a large ‘tentacled’ structure designed to sit compactly centre stage before inflating to approximately 10m in diameter; eight large, stylised flower-like ‘underwater’ plants, each between one and two metres tall; four colourful spheres, 2m in diameter; and three 3D ‘sunburst’ objects, each 1m in diameter.

Alongside these inflatable elements, Artem created fabric elements to help achieve the ‘underwater’ garden effect, including ten self-contained units between four and seven metres high which rose into the air when activated.

In addition to this, Artem created a range of shadow puppets based on drawings and tests from the creative team. Among these were puppets of walking and running people, fish and a cityscape. These puppets needed to be lightweight and robust with some incorporating animating mechanisms for movement. Most of the shapes were cut on Artem’s CNC router before being finished by hand to achieve a high quality of detail and finish.

Other props included a baby grand piano, clad with plastic mirror. A keyboard was discreetly built into the ‘dressed’ piano carcass to allow the prop to be played live.

Art Director Dan Shipton said: “It was great to create something so special with Artem. They rose to the creative challenges that we put their way and delivered incredible products on time that have become iconic moments within our show.”

Colin Foster, Senior SFX Technician said: “It was a pleasure working with such an imaginative and creative team and being given the opportunity to create some really memorable central pieces for the show. It’s always a privilege being involved in such a high profile project and knowing that our work is being seen by so many people.”

Artem combines the best of engineering expertise with creative flair to provide everything from puppetry to props and pyrotechnics to animatronics. In 2012 Artem also helped to bring to life the enormous creative and logistical vision of the opening and closing ceremonies of the Olympics and Paralympics.

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By Danielle Goldstein Posted: Monday August 10 2015, 8:00am

MOST RECENT POSTS Rob Greig

gTop 100 restaurants: the second best g restaurant in London is…

Will Wyatt, 28, Senior Special Effects Technician at Artem explains how he got into the special effects business.

Is most of your time spent blowing shit up?

‘I actually spend a lot of time thinking, designing and problem solving. If say we have to make a rig to collapse a castle, I’d come in and sit at the computer for a few hours drawing before the building crew get in.’

I guess castles are fun too…What other awesome jobs have you worked

gWatch Benedict Cumberbatch very

g

very politely ask you not to film him in ‘Hamlet'

gRead all about it: get free Penguin books on the tube

g

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on?

gTop 100 restaurants: the third best

g

restaurant in London is…

‘One of the coolest moments of my career was the Opening Ceremony for the Olympics. I had to attend to rigs, make sure things went off at the right time and generally run around like a madman.’

gOverheard in London: this week’s #wordonthestreet

How did you get into this line of work?

‘I remember watching something about special effects on TV when I was ten, and thinking it’d be a brilliant thing to do. Then when I was 14 I did work experience in a model­making studio, which spurred me on to an art foundation year making animatronics, and then university, which introduced me to the right people.’

What’s your favourite part of your job?

‘I love the fact that you can come into work and six hours later be on a plane to Barcelona or India. I always bring my passport to work with me now because we might need to meet clients, do a last­minute job or fix something in production that’s gone wrong.’

Sounds hectic. Does your career make it difficult to hold down a relationship?

‘Yes, you need someone who’s understanding. Luckily my girlfriend is a video editor, so she has an insight into the industry. But if you’re working on a film or you’re abroad for a long period, it does make it difficult.’

For all our budding SFX­ers, is there an effect that readers can try at home?

‘Yeah! Something I used to do was a gunshot wound, which you can do with anything that pumps, like a water pistol. Fill it with red food colouring and corn syrup, cut a little hole in your T­shirt, hide it behind you and spurt it through your shirt.’

Hours: 50hrs p/w Starting salary: £15,000 p/a Qualifications: BA in special effects Or why not become a dancer?

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By Danielle Goldstein Staff Writer

Danielle is a freelance writer at Time Out London and there's not a lot she won't do in the name of 'journalism'. Follow her on Twitter: @GoldbarsDJ.

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Robotic sculpting brings projects to life Posted on 03 Jun 2015 and read 761 times inShare A combination of Autodesk’s Maya design software, Delcam’s PowerMill Robot programming system (www.delcam.com) and a Kuka robot allows Artem — a London-based special effects company — to bring amazing projects to life (video available at www.delcam.tv/artem).

CEO Mike Kelt says: “We get involved in all sorts of technology, the most recent being robot machining and 3-D printing. Much more is done on a computer now than has ever been done in the past, when it used to be very much an industry based on hand skills.

“One of the challenges is dealing with clients who aren’t entirely sure what they want, so you have to tell them what you think they want and get them to approve things.

If you can do the design on a computer with Maya and send them an image that’s rendered, they can say “yeah, that’s it”, and we can carry on with the design and manufacturing process.”

The programs for the robot are developed by design engineer Ken White. “We import the part designs into PowerMill Robot as a series of STL files. For each element, we create roughing and finishing passes, which we then simulate to see how they machine.

“Once I am happy, the tool-paths are output as G-code to the Kuka robot for machining. The robot allows us to machine very large pieces, so keeping the number of parts to as few as possible.”

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Robotic sculpting brings projects to life A combination of Autodesk’s Maya design software, Delcam’s PowerMill Robot programming system ( www.delcam.com ) and a Kuka robot allows Artem - a London-based special effects company - to bring amazing projects to life (video available at www.delcam.tv/artem ).

CEO Mike Kelt says: “We get involved in all sorts of technology, the most recent being robot machining and 3­D printing. Much more is done on a computer now than has ever been done in the past, when it used to be very much an industry based on hand skills.

“One of the challenges is dealing with clients who aren’t entirely sure what they want, so you have to tell them what you think they want and get them to approve things. If you can do the design on a computer with Maya and send them an image that’s rendered, they can say “yeah, that’s it”, and we can carry on with the design and manufacturing process.”

The programs for the robot are developed by design engineer Ken White. “We import the part designs into PowerMill Robot as a series of STL files. For each element, we create roughing and finishing passes, which we then simulate to see how they machine.

“Once I am happy, the tool­paths are output as G­code to the Kuka robot for machining. The robot allows us to machine very large pieces, so keeping the number of parts to as few as possible.” [sourcelink] http://www.machinery-market.co.uk/news/10357/Robotic-sculpting-brings-projects-to-life [/sourcelink

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Find more great positions on D3D Jobs Artem’s 7­axis milling robot machines the Halo Master Chief from foam Standing outside in Artem’s physical special effects trialling ground (staff carpark) you’d be excused for having the same enthusiasm as the 10 year­old kid stood next to you, gasping at the exploding car ablaze in front of you.

This was the company’s summer open day, a way of introducing an invited mix of potential customers, friends and their kids along to the kind of work they do there ­ and it’s amazing the breadth of projects it works on.

Some of it is ear­ringingly loud explosions, fake­blood spatters and bullet ricochets for gunfights, yet everything is carefully crafted ­ including instantly recognisable props and costumes.

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Inside its workshop are benches familiar to anyone that’s stepped inside a model making studio, yet the 7­axis milling robot and a couple of useful Stratasys 3D printers set them apart from most by merging the lines between physical and digital.

Sculptors can work in 3D Systems Freeform, while SolidWorks is brought out for the surprising amount of structural and frame designs that make up many of the

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Date: 11­Aug­2015 Reach: 12716 Value: 341 creations ­ whether moving characters, filming rigs (like the giant ‘hamster wheel’ that can realistically roll sets and the actors within), or designing their own equipment ­ like wind machines and smoke cannons.

A high­detail Stratasys Objet 3D printer lets in­house artists 3D print scale models first For projects such as the latest Halo video game marketing campaign, sculptures were 3D printed to form maquettes, which could be scaled up and milled using the robot to create life­size models. These could be used as mannequins for costume work, or simply to form standalone props.

With a core staff of 30, Artem’s specialist team of sculptors, engineers, prop­makers, pyrotechnicians, and artists are always working hard to make what they do standout in a competitive world. Being able to bring together all aspects of the SFX cannon together with the added speed and accuracy its digital tools offer mean it continues to be an award winning outfit, pleasing both children and adults alike.

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More movie magic?

The Octobus ­ before closing the Olympics ceremony with DJ Fatboy Slim Last year we spent the day with Artem at its West London headquarters and took a more in­depth look at some of its projects ­ from the Churchill Insurance animatronic dog, to the Olympics closing ceremony.

To read more, click here.

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Artem, which specialises in special effects and innovative solutions for commercial and movie use, also looks after tricky parts of VM. Based in West London and Glasgow, the company supplies a wide range of animatronics, mechanical rigs, special costumes, high­end model making, puppetry and technical solutions for VM.

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Brian the robot stars in Confused.com’s television commercials, Artem’s studios contain two animatronic versions of Brian, each able to fulfill different on­screen requirements.

They are carefully packed in transporting cabinets.

A Dalek, arch enemy of BBC TV’s Dr. Who, and the Churchill Insurance Bulldog are perhaps among the cuter mechanical and animatronic models with which Artem works, many of which are arrayed above desks and on shelves.

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For Artem, realistic blood and gore is a specialty. The forthcoming Macbeth movie, due for release in September 2015, features Artem’s skillful viscera. And, as for movies, as for VM installations: the atmospheric smoke of the movie really creates its mood. The company also offers wind, rain, and snow ­ in fact several kinds of snow, with which many VM professionals will be familiar.

Here is the original mock­up for the current Selfridges’ window, Strength, being photographed.

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Artem creates 3D images for all of the work it completes. Equipment even allows the 3­D design team to ‘feel’ the surface of the substrate that they are designing, making resulting marks more compelling. For example: clay feels like clay and wood like wood. A complex example is a tandem bicycle and side­car made for the current tour of band Take That.

Here is the final, painted, lacquered, and polished final Selfridges piece, one of a number of black and white variations in the store windows.

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In an extendion of the theme Artem produced an exploding window. It contains three discs, against which smoke or powder is fired. In a store, there is a real risk of tripping fire alarms, and condensation from steam would prevent customers from seeing through the window. So, after testing in the studio, Artem proposed industrial talc for best effect, creating an air­powered ‘gun’ which fires on the hour, every hour, 24/7, for the lifespan of the window. This allows the ash to build up over time, as requested by Selfridge’s team. Artem offers risk assessments for its projects.

Artem even has a rotating movie set, like the one used in Fred Astaire’s 1951 movie, ‘Royal Wedding,’ in which Astaire appears to defy gravity by dancing on the walls and the ceiling of a room.

And lastly, one of several BBC 2 icons, this carefully rusted, post­industrial ‘2’ quietly stands a metre high on the studio staircase.

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The future of making things: how manufacturing is undergoing a digital revolution Generative design is the cutting edge of the manufacturing and design process The future of manufacturing is something which has been widely debated in recent months and years. You could go as far as to say that we are on the brink of the biggest change in how we make things since the industrial revolution. There are numerous new tools, processes and materials entering the market.

These in turn bring with them new opportunities for businesses which are able to take advantage of them and give consumers access to more choice in the products they buy, particularly in terms of more personalised items.

In particular, 3D printing, robotics and generative design are set to transform manufacturing in the coming years.

Generative design At the cutting edge of the manufacturing and design process is generative design. Thanks to advances in design software and computing, software can now design the optimal part based on the parameters of how the part needs to perform. See also: There are huge opportunities to take advantage of this technology in a whole range of industries, but sectors where weight and form are particularly crucial, such as in automotive and aerospace, offer the most immediate opportunities.

For example, an aerospace company could specify the loads a new bracket has to withstand during aircraft operation, and then the software can optimise the bracket’s design based on this.

This can provide a set of design solutions, which are inherently different to traditional shapes, and these can act as drivers in the overall design process. What the industry has seen over the years is parts being designed to match the manufacturing processes available at the time, and generative design is another example of this.

As the industry starts to get behind generative design, we’ll see the next generation of aircraft parts starting to take shape. More broadly speaking, the opportunities for manufacturing firms to fine-tune each element of any product are huge.

3D Printing 3D printing is part of a series of manufacturing technologies known as additive manufacturing, whereby products are built up by materials being added together in a series of layers, to create the final item.

There are a whole range of industries using additive manufacturing already and it’s been exciting to see the technology take off, both supporting small, start-up businesses and providing new methods for more established players in the market.

In particular, Delcam and Autodesk are working with cutting edge organisations such as Stooki and Cooksongold to develop innovative jewellery for the future.

The latest additive manufacturing technologies, along with laser scanning and the most up to date tooling and casting solutions have provided new ways to design beautiful pieces, in turn providing consumers with interesting new pieces to wear.

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The jewellery sector in particular is really making the most of these opportunities. A further example in practice is the PRECIOUS project - a major R&D scheme looking into the use of additive manufacturing in the jewellery industry and developing a commercially viable range of processes for manufacturing based on 3D printing precious metals.

It’s exciting to see how a new technology is playing out in one industry, but we have yet to scratch the surface of the opportunities across the manufacturing spectrum.

Robotics There has been much talk around the threat to jobs which robots could represent. The reality is that many manufacturing processes already have robotics in place, but they are advancing all the time and allowing us to create incredible things and innovate in hugely significant ways. See also: But this doesn’t present a threat to careers, but more of an opportunity to drive innovation. For example, robotics in manufacturing allows us to create new shapes and designs much more efficiently than even a couple of years ago.

From sculpting and machining foam and resin, to laser cutting and finishing, robotics can support our manufacturing processes by delivering more accuracy in intricate designs, on a large scale.

Through working with new design techniques from advances in software, robotics can deliver incredible outputs, supporting the designers and manufacturers in the industry. A fantastic example of this is special effects firm Artem which has seem enormous success through using a combination of innovative designs, robotics and even 3D printing.

One thing is for sure, the way the world is designed and made is changing and truly innovative designers and manufacturers are already getting ahead. These types of tools are increasingly available to businesses of all sizes and it will be exciting to see the creations and innovations which are discovered through their implementation.

Sourced from Bart Simpson, business development lead, [sourcelink] http://www.information-age.com/industry/hardware/123460251/future-making-things-howmanufacturing-undergoing-digital-rev [/sourcelink]

Macbeth

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bloomberg.com http://www.bloomberg.com/news/articles/2015-10-02/macbeth-movie-visual-effects-created-by-british-company-artem

Source: Artem

Macbeth Film’s Grisly Scenes Created by British Company’s Toil and Trouble Artem mixes manual and digital craftsmanship. by Olivia Solon October 2, 2015 — 6:27 PM BST Neither the intestines escaping from a slashed belly nor the photo-realistic corpse modeled on actor David Thewlis were the most challenging special effects in this year’s film adaptation of Macbeth, which opened in the U.K. on Oct. 2. It was the mist.

“The director [Justin Kurzel] wanted it to be cold and miserable and misty and Scottish,” explains Mike Kelt, the chief executive of effects company Artem and special effects supervisor on the film, which stars Michael Fassbender and Marion Cotillard.

Creating such a consistent mist throughout scenes required smoke stations set up on different parts of the set (in the Isle of Skye) which seeded smoke through fans and long inflatable tubes of up to 500 meters (0.3 miles) long.

The smoke emerged from small holes along the tubing.

The mist was one of the most challenging effects.

Source: Artem

“It’s easy to make the smoke and throw it all over the place, but to control it and keep it consistent for continuity between scenes is hard,” says Kelt.

Tax Relief Artem was founded in 1988 by former members of the BBC special effects department. The company found itself working predominantly on commercials, but slowly moved into TV and film and even elaborate shop window displays and staging for the 2015 tour by British pop group Take That.

The firm is among the U.K. special effects companies to benefit from policy introduced in 2013 that made it easier for Hollywood studios to qualify for U.K. tax breaks. The policy change helped the U.K. film industry grow by 35 percent between 2013 and 2014, according to the British Film Institute, bringing in total revenues of £1.4 billion ($2.1 billion) and supporting productions including films such as the Harry Potter series, Gravity, Maleficent, Ex Machina and now Macbeth.

A replica of David Thewlis's head. Source: Artem

Controlling the Elements Other elements created and controlled by Artem for “the Scottish Play” include rain, wind, fire and tiny glowing embers. Creating those involved building a dedicated machine for setting fire to and ejecting tiny particles of dust.

In one scene, shot in the dunes of Bamburgh Castle in Northumberland, a family is burnt at the stake. Because the location is categorized as a Site of Special Scientific Interest, there were strict rules that Artem had to work to when building the gas-powered bonfire, including using only sea water to extinguish any errant flames.

vodzilla.co

http://vodzilla.co/blog/features/practical-magic-behind-the-scenes-on-ex-machina-and-macbeth-with-artem-sfx/

Practical Magic: Behind the scenes on Ex Machina and Macbeth with Artem SFX Andrew Jones

| On 03, Jun 2015 With Ex Machina out now on DVD, Blu-ray and digital platforms, we take a tour of Artem’s studios, who were behind some of the film’s special effects.

Artem have been working in the background of cinema for many years, with CEO Mike Kelt and his team credited on such works as Hot Fuzz, X-Men: First Class, Prometheus and the upcoming Michael Fassbender/Marion Cotillard Macbeth.

Their works spread from miniatures and animatronics to rain, snow and other weather effects, bringing life to scenes and, in some cases, characters. For Alex Garland’s sci-fi thriller (about a coder who wins the chance to test a new robot, designed by his reclusive boss), Artem were asked to provide a futuristic range of props, ranging from the characters’ ID cards to surveillance cameras and a specially-constructed multi-functional phone. The work included four card reader units lit by red and blue LED lights with inbuilt screens inside CNC cut-acrylic casing, all designed as fixed parts of the sets to add to the atmosphere of confinement and control.

“For Ex Machina I required very specific and practical futuristic props made to a high level of detail and finish. This was achievable because of the expertise, hard work and flexibility of the team at Artem,” says production designer Mark Digby.

Kelt adds: “Ex Machina is a dynamic and intelligent film, which draws on a range of special effect techniques to create an authentic futuristic universe that engages with ideas and fears about artificial intelligence. With low key naturalisation alongside high-tech stylisation, it’s been really exciting for us to work on the project.”

How, though, does this practical magic happen?

In the west of London sits their home base, a large building in the middle of an industrial park that seems normal, mundane, but the minute you step in and are greeted by a tall Master Chief, and a few Gremlins – plus a vast array of creatures and memories from games, TV, films and adverts of the last few decades – things start to get a little crazy.

One of the actors takes a break from filming.

Photographer: MIKE KELT Prosthetics-wise, Artem created bucket-loads of blood and guts and amputated limbs. Then there was the life-size replica of David Thewlis, who plays King Duncan. This involved making a full cast of his head and hand, and the painstaking process of handpunching every hair on the dummy’s head.

The model – which was rigged up with a fake blood supply - was used in a realistic stabbing scene.

“The face was so real that David Thewlis was allowed to go home instead of lying in the bed for the rest of the night dead,” says Kelt.

While manual craftsmanship is still a key part of the physical effects business, digital technology has started to transform how companies like Artem operate.

“We model large props on a computer and then use a robot to carve huge blocks of polystyrene,” explains Kelt, who also uses laser scanners and 3D printers in his work. “Only the drudgery of the old hand skills are being lost.”

Before setting about the entire warehouse, we sit down to get an overview on Artem’s work, including some nice glimpses of Ron Howard’s upcoming The Heart of the Sea and recent Cannes hit Macbeth, whose prominent smoke visions were all Artem’s creation.

“We had to cover the hills and mountains and areas we were filming in with mist, mostly because they wanted a mysterious Scottish feel, and nobody thought it could be done,” says Kelt, while explaining Macbeth’s misty effects, which mixed Artem’s portable smoke machine with small pipes and a fan.

“Different people had different views. You’re overcoming what people think is impossible. We had to plum up the countryside, in a way.”

Filling up the highlands looks like a long process, however…

“In essence, you set the fan down, you connect it up to a generator. If there’s no power, you set the smoke gun going and fire up the fan and the roll of plastic just inflates at 100mph.”

We are given a tour of the facilities, seeing people hard at work in the sculpting department, which houses a torso full of carvings that was used in a film called Dread. “At one point a character opens a briefcase and takes out a person’s skin” is how this sight sitting in the middle of the room is explained – no doubt a family classic for the ages.

Molds of winged beasts, faces and small creatures adorn the shelves, overlooking other buildings, where more standard industry work is taking place.

Going to the lower levels and into the physical workshops, we are given an inside look at two modern insurance icons: Churchill and Confused.com’s Brian, both fully functioning within a minute of getting them out of their boxes, although neither is willing to give us a quote without a detailed medical history. Moving away from the insurance giants, a glimpse deeper into the production; most excitedly of all, a giant robot hand carving away and changing tools for the job.

Who can remain still at the sight of a functioning machine creating? The mind boggles at the sheer evolution that has gone into it. It certainly distracts from the Homepride man’s giant smiling head staring across the room.

The visit goes out with a suitable bang, as a jacket full of squibs is presented. “Who wants to get shot?” we are asked. As sad as it is to say, we fair folk at VODzilla.co balk at the opportunities to be blasted apart – there’s yet to be confirmation about streaming services in the afterlife – so we stand back and watch, with our camera set to slow motion.

It seems silly to think that a squib, a small explosion, wouldn’t be so loud, but it catches us off-guard for certain, and we suspect the kindly tester is a bit surprised at the events as well.

While we never see the cameras and ID cards that Artem made for Ex Machina, props that bring a lot of weight to the sci-fi thriller, the company’s craft, talent and love for their work shines through, with staff members talking about projects they worked on with joy and love.

Luckily, we don’t need an ID card for the door to let us out at the end.

Ex Machina is out now on DVD, Blu-ray and VOD. Read our review here. For more information on Artem, visit www.artem.com

indiewire.com

http://www.indiewire.com/article/heres-how-the-filmmakers-created-sinister-special-effects-for-macbeth-20150929

Here's How the Filmmakers Created Sinister Special Effects for 'Macbeth' September 29, 2015 at 5:05PM The new film starring Michael Fassbender and Marion Cotillard needed believable mist, smoke, rain and fire in order to come to life.

c/o Artem 'Macbeth' Special Effects Though the lead actors shine in Justin Kurzel's adaptation of Shakespeare's "Macbeth," which premiered earlier this year at the Cannes Film Festival, it's the special effects that really deserve attention.

The ambitious adaptation won't hit American shores for another two months, but UK audiences will have a chance to see it in theaters this week. To create a harrowing Shakespearean experience, the filmmakers employed Artem SFX, an award-winning physical special effects company. Working both on location and in the company's London studio, Artem created an elements package for the production team featuring detail shots of blood spurts, smoke and flying embers. Floor effects included mist, smoke, rain and fire, while life-like prosthetics ranged from gruesome wounds to a full body dummy of one of the film's central characters

Artem "Macbeth" special effects "Rain, mist, smoke, fire and burning embers are all key elements in the world of Macbeth, together with prosthetics and gore for the battle scenes. Artem had a tough budget in relation to the ambition for the 112 minute film but worked tirelessly to help create the frontier landscape of Justin Kurzel's Macbeth," said "Macbeth" producer Laura Hastings-Smith.

Mike Kelt, Artem CEO and special effects supervisor on the film, said, "It was clear from the outset that Justin [Kurzel] had a very clear idea of what he wanted. He was after a cold, atmospheric, misty, Scottish feel to permeate the film."

The biggest challenge, according to Kelt, "was covering vast areas of landscape with a consistent mist — whole hillsides had to disappear, enveloping armies and blotting out unwanted backgrounds."

In order to rise to the challenge, the Artem team built a bespoke tubing system that was able to cover vast areas of landscape with mist and that could be moved quickly in response to changes in wind. The industry-standard smoke gun — designed and made by Artem — was used to create denser smoke for tighter shots.

Artem "Macbeth" special effects In order to intensify the foreboding mood, Artem added rain to some scenes. Again, it was necessary to cover wide areas, which demanded that the team set up huge rain stands.

"In some respects, Justin was lucky; we were often battling with the 'real' weather, which was atrocious throughout most of the filming, and a challenge for everyone on the production," said Kelt. "On top of one Scottish hill we even grouped like Antarctic penguins, rotating positions to spread the pain! On that particular day we managed to cheer people up by finishing with a large burning pyre of bodies — something you might expect to be grim, but at least it offered some warmth! This can be seen near the start of the film."

Among the grisly prosthetics were exposed intestines and throat cuts, along with a dead body double of Duncan (David Thewlis, the murdered king. Thewlis visited Artem's West London studio to have his body cast, and despite initial doubts from the director as to how life-like the result could possibly be, the body double proved so realistic that the actor was able to finish his scenes early instead of playing dead.

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Wednesday, September 30th, 2015 |

Posted by Joe Stenson

Scotland’s “Misty” Isle needed fake mist for Macbeth movie SCOTLAND’S Misty Isle had to import extra mist, fog and rain during the filming of the new Macbeth adaptation, it has been revealed.

The latest big screen version of Shakespeare’s “Scottish play” – starring Michael Fassbender and Marion Cotillard – was filmed in atrocious conditions on Skye last winter.

In the run up to its release stars and crew have revealed that they had to battle sideways rain, gale­force winds and hypothermic temperatures on the island.

But with the film due to be released later this week, the special effects team have revealed they had to step up the weather on Skye in order to create an authentic grim “Scotch mist” for the film.

Specialists built a bespoke tube system to fill the island landscape with thick fog, and even had to use huge shower stands to drench the cast with authentic Scottish rain.

The Isle of Skye is renowned worldwide for its stark beauty and unrelenting weather – and stars and crew of the film have freely talked about the difficulties of filming in the island’s grim elements.

Michael Fassbender – in the lead role of Macbeth – recently said that whilst filming near the Quiraing at Trotternish the weather was so bad that some cast members suffered from hypothermia.

He said: “It was pretty much horizontal rain, there was sleet and I think we had a bit of snow as well. So all weathers.”

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And Aussie director Justin Kurzel even admitted in an interview earlier this month that he nearly lost lead actress Marion Cotillard to a bog.

The Oscar­winning actress took a tumble whilst shooting, falling neck deep into the murky water, he recalled: “She went in up to her neck. I thought, ‘Ah, OK. We may have lost her.’”

But apparently the naturally occurring elements were not enough for the director – who wanted a more authentically grim Scottish look to the proceedings.

As a result special effects teams from Glasgow­based company Artem had to build tailor­made pipe systems to smother the landscape in fog and shower machines to drench the cast.

Mike Kelt – the film’s special effects supervisor – said: “It was clear from the outset that Justin had a very clear idea of what he wanted.”

“He was after a cold, atmospheric, misty, Scottish feel to permeate the film.

“The biggest challenge was covering vast areas of landscape with a consistent mist – whole hillsides had to disappear, enveloping armies and blotting out unwanted backgrounds.”

“In some respects Justin was lucky; we were often battling with the ‘real’ weather, which was atrocious throughout most of the filming, and a challenge for everyone on the production.

“On top of one Scottish hill we even grouped like Antarctic penguins, rotating positions to spread the pain.

“On that particular day we managed to cheer people up by finishing with a large burning pyre of bodies – something you might expect to be grim, but at least it offered some warmth. This can be seen near the start of the film.”

As well as importing extra grim elements into the Scottish wilderness, the special effects team brought on gallons of fake blood, prosthetic wounds and a life­sized dummy of the murdered King Duncan.

The movie enjoyed its UK premier in Edinburgh on Sunday – and will be released in Cinemas on Friday.

Short URL: http://www.deadlinenews.co.uk/?p=77673

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30/09/2015 : 08:45:13

Broadcast News

Thunder, Lightning And Rain: Artem SFX Create A Range Of Sinister Special Effects

Award‐winning physical special effects company, Artem SFX, has been hard at work crea ng a wide range of sinister effects for Jus n Kurzel's new film Macbeth, starring Michael Fassbender and Marion Co llard.

Artem technicians have developed a variety of effects for this 15 rated adapta on of Shakespeare's most harrowing play, which is due to be released 2 October 2015, working both on loca on and from the company's London studio. Floor effects included mist, smoke, rain and fire, while lifelike prosthe cs ranged from gruesome wounds to a full body dummy of one of the film's central characters. In addi on to this, Artem created an elements package for the produc on team, featuring detail shots of blood spurts, smoke and flying embers.

Laura Has ngs‐Smith, producer on the film, said: "Rain, mist, smoke, fire and burning embers are all key elements in the world of Macbeth, together with prosthe cs and gore for the ba le scenes. Artem had a tough budget in rela on to the ambi on for the 112 minute film but worked relessly to help create the frontier landscape of Justin Kurzel's M ​ acbeth​."

29/09/2015

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"It was clear from the outset that Jus n [Kurzel] had a very clear idea of what he wanted," said Mike Kelt, Artem CEO and special effects supervisor on the film. "He was a er a cold, atmospheric, misty, Sco sh feel to permeate the film. The biggest challenge was covering vast areas of landscape with a consistent mist – whole hillsides had to disappear, enveloping armies and blo ng out unwanted backgrounds."

Rising to the challenge, the Artem team built a bespoke tubing system that was able to cover vast areas of landscape with mist and could be moved quickly in response to changes in wind. The iconic industry‐ standard Artem smoke gun – designed and made by Artem, and exported round the world – was used to create denser smoke for ghter shots.

In case the swathes of smoke and mist weren't foreboding enough, Artem added rain to some scenes.

Again it had to cover wide areas, requiring the team to set up huge rain stands.

Mike Kelt said: "In some respects Jus n was lucky; we were o en ba ling with the 'real' weather, which was atrocious throughout most of the filming, and a challenge for everyone on the produc on. On top of one Sco sh hill we even grouped like Antarc c penguins, rota ng posi ons to spread the pain! On that par cular day we managed to cheer people up by finishing with a large burning pyre of bodies – something you might expect to be grim, but at least it offered some warmth! This can be seen near the start of the film."

The film's grisly prosthe cs for the film included exposed intes nes and throat cuts, along with a dead body double of Duncan, the murdered king. The actor visited Artem's West London studio to have his body cast, and despite ini al doubts from the director as to how lifelike the result could be, the body double proved so realis c that the actor was able to finish his scenes early instead of playing dead.

Artem combines the best of engineering exper se with crea ve flair to provide everything from puppetry to props to pyrotechnics and animatronics. In 2012 Artem also helped to bring to life the enormous crea ve and logis cal vision of the opening and closing ceremonies of the Olympics and Paralympics. artem.com

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"I've seen things you people wouldn't believe”

Home » Drama » The Macbeth special effects included gore, rain, and burning bodies

The Macbeth special effects included gore, rain, and burning bodies

Artem SFX, an award­winning physical special effects company, has been hard at work creating a wide range of sinister effects for Justin Kurzel’s new film ​adaptation of Macbeth, starring Michael Fassbender and Marion Cotillard.

Artem technicians have developed a variety of effects for this 15 rated adaptation of Shakespeare’s most harrowing play, which is due to be released on 2nd October 2015, working both on location and from the company’s London studio. Floor effects included mist, smoke, rain and fire, while lifelike prosthetics ranged from gruesome wounds to a full body dummy of one of the film’s central characters. In addition to this, Artem created an elements package for the production team, featuring detail shots of blood spurts, smoke and flying embers.

Laura Hastings­Smith, producer on the film, said “Rain, mist, smoke, fire and burning embers are all key elements in the world of ​Macbeth, together with prosthetics and gore for the battle scenes. Artem had a tough budget in relation to the ambition for the 112 minute film but worked tirelessly to help create the frontier landscape of Justin Kurzel’s ​Macbeth.”

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“It was clear from the outset that Justin [Kurzel] had a very clear idea of what he wanted,” said Mike Kelt, Artem CEO and special effects supervisor on the film. “He was after a cold, atmospheric, misty, Scottish feel to permeate the film. The biggest challenge was covering vast areas of landscape with aconsistentmist–whole hillsides had to disappear, enveloping armies and blotting out unwanted backgrounds.”

Rising to the challenge, the Artem team built a bespoke tubing system that was able to cover vast areas of landscape with mist and could be moved quickly in response to changes in wind.

In case the swathes of smoke and mist weren’t foreboding enough, Artem added rain to some scenes.

Againit had to cover wide areas, requiring the team to set up huge rain stands.

Mike Kelt said, “In some respects Justin was lucky; we were often battling with the ‘real’weather, which was atrocious throughout most of the filming, and a challenge for everyone on the production. On top of one Scottish hill we even grouped like Antarctic penguins, rotating positions to spread the pain! On that particular day we managed to cheer people up by finishing with a large burning pyre of bodies – something you might expect to be grim, but at least it offered some warmth! This can be seen near the start of the film.”

The film’s grisly prosthetics for the film included exposed intestines and throat cuts, along with a dead body double of Duncan, the murdered king. David Thewlis visited Artem’s West London studio to have his body cast,and despite initial doubts from the director as to how lifelike the result could be, the body double proved so realistic that the Thewlis was able to finish his scenes early instead of playing dead.

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6 THINGS YOU LEARN MAKING SPECIAL EFFECTS FOR THE MOVIES

Based in London and Glasgow, award­winning company Artem make extraordinary props, sets and special effects for everything from TV adverts to major movies – including the recently­released, Michael Fassbender­starring Macbeth.

Mark Butler We spoke to CEO Mike Kelt to find out just what it’s like to spend 9th Oct 2015

your working life creating groundbreaking visual effects for the big screen.

Here are six fascinating things he told us.

1. You get asked to make some VERY strange things “One memorable occasion was a phone call last year when I was

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asked if we could build a full size singing toilet. And then informed there was only 48 hours to do it.

“We were asked if we could make two toilet rolls on the cistern blink, and act as eyes, and finally on the day in the studio were asked if we could adapt the pedal to join in on the chorus. We did it, and I think it looks great, and it’s a lovely little song about poo and wee for ‘Water Aid’– so a good cause too.”

2. And some very audacious things “We have built a couple of 26ft high animatronic people who had to walk along the street. We have built miniatures for films that had to collapse or blow up, with only one take allowed (that can be nerve­ wracking!). We’ve built computer controlled robotic characters (including writing the software) in five weeks. We’ve turned large swathes of Scotland into a snowy wilderness – in Summer. Recently we worked on the Take That tour, designing and building a flying ‘copter­bike that took off with the band on board and flew over the audience – that looked pretty spectacular, and raised a few eyebrows.

“Probably the boldest project overall was the work we did for the 2012 Olympic ceremonies: building a lightweight house that had to rise into the air, or pump smoke out of giant chimneys, and a giant 50m Octopus that grew out of a 1950s bus. It certainly got the adrenaline pumping.”

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3. Mist is tricky – but you fall in love with fire “On Macbeth the most challenging but certainly the most important elements were the atmospheric effects, particularly the all­pervading mist. It had to be consistent, controllable and easily movable, and approached delicately and thoughtfully. We did a lot of testing before settling on what looks like a relatively simple inflatable plumbing system that could be draped across hillsides and through forests.

“But the aspects I liked personally were the fire sequences. There’s something about the danger and beauty of flames, the respect they demand and the need to keep them strictly under control. From the burning pyre of corpses at the beginning, through burnings at the stake, to the forest fire at the end, all that was exciting.”

4. CGI is now an integral part of the entire production “We built some very sexy props for the sci­fi film Ex Machina, working closely with the art department. This uses more of the high­ tech equipment at Artem, and the computer design guys who work so wonderfully in the virtual 3D space.

“Once upon a time the CG work was confined to post production, but now we use it as a tool to manufacture the real thing.”

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5. But practical effects are still essential “People have been saying CG will replace reality for years. But more physical work is done now than ever before.

“Some aspects, like model making, have declined, at least in film and TV, but in other sectors like events, exhibitions, museums, visual merchandising, the physical will always be necessary and is in growing demand, perhaps partly because people are becoming blasé about watching screens, and want something more.”

6. The UK film industry is booming (or at least, part of it is) “The UK film and TV industries are growing greatly at present, due to the Government film and TV tax reliefs that encourage foreign (which in reality means mainly US) inward investment.

“The UK has always had a great reputation for its craft skills, and this also helps attract work to the country. Indeed a shortage of skilled technicians is now the problem. So the industry is certainly thriving.

“Don’t get me started on Scotland however, where people are still scrambling around trying to create a film industry!”

For more information on the Artem Special Effects company, visit

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Award­winning company ARTEM creates special effects for long awaited Macbeth film starring Michael Fassbender 22 September 2015

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''Tis unnatural, / Even like the deed that's done.'

IN THUNDER, LIGHTNING AND IN RAIN, ARTEM SFX CREATE A RANGE OF SINISTER SPECIAL EFFECTS FOR JUSTIN KURZEL’S M​ACBETH,​ DUE FOR RELEASE 2 OCTOBER 2015 Artem SFX, an award­winning physical special effects company, has been hard at work creating a wide range of sinister effects for Justin Kurzel’s new film M​acbeth,​starring Michael Fassbender and Marion Cotillard.

Artem technicians have developed a variety of effects for this 15 rated adaptation of Shakespeare’s most harrowing play, which is due to be released 2 October 2015, working both on location and from the company’s London studio. Floor effects included mist, smoke, rain and fire, while lifelike prosthetics ranged from gruesome wounds to a full body dummy of one of the film’s

central characters. In addition to this, Artem created an elements package for the production team, featuring detail shots of blood spurts, smoke and flying embers.

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Laura Hastings­Smith, producer on the film, said: “Rain, mist, smoke, fire and burning embers are all key elements in the world of M​acbeth,​together with prosthetics and gore for the battle scenes.

Artem had a tough budget in relation to the ambition for the 112 minute film but worked tirelessly to help create the frontier landscape of Justin Kurzel's M​acbeth.​” “It was clear from the outset that Justin [Kurzel] had a very clear idea of what he wanted,” said Mike Kelt, Artem CEO and special effects supervisor on the film. “He was after a cold, atmospheric, misty, Scottish feel to permeate the film. The biggest challenge was covering vast areas of landscape with a consistent mist – whole hillsides had to disappear, enveloping armies and blotting out unwanted backgrounds.”

Rising to the challenge, the Artem team built a bespoke tubing system that was able to cover vast areas of landscape with mist and could be moved quickly in response to changes in wind. The iconic industry­standard Artem smoke gun – designed and made by Artem, and exported round the world – was used to create denser smoke for tighter shots.

In case the swathes of smoke and mist weren’t foreboding enough, Artem added rain to some scenes. Again it had to cover wide areas, requiring the team to set up huge rain stands.

Mike Kelt said: “In some respects Justin was lucky; we were often battling with the ‘real’ weather, which was atrocious throughout most of the filming, and a challenge for everyone on the production. On top of one Scottish hill we even grouped like Antarctic penguins, rotating positions to spread the pain! On that particular day we managed to cheer people up by finishing with a large burning pyre of bodies – something you might expect to be grim, but at least it offered some warmth! This can be seen near the start of the film.”

The film’s grisly prosthetics for the film included exposed intestines and throat cuts, along with a dead body double of Duncan, the murdered king. The actor visited Artem’s West London studio to have his body cast, and despite initial doubts from the director as to how lifelike the result could be, the body double proved so realistic that the actor was able to finish his scenes early instead of playing dead.

Artem combines the best of engineering expertise with creative flair to provide everything from puppetry to props to pyrotechnics and animatronics. In 2012 Artem also helped to bring to life the enormous creative and logistical vision of the opening and closing ceremonies of the Olympics and Paralympics.

MACBETH HITS CINEMAS ON OCTOBER 2

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Mist and rain shipped in for Macbeth film

Fake mist is piped in as filming proceeds on Macbeth. Picture: Contributed by

ILONA AMOS published It’s hard to believe Scotland’s world­famous Misty Isle could be found lacking in the very stuff its legend is made of.

The backdrop for the new big­screen adaptation of Macbeth is as dark and brooding as the tortured lead character, brought to life by Hollywood heartthrob Michael Fassbender.

But despite atrocious wintry conditions during filming on the Isle of Skye last winter, special effects teams had to pipe in artificial mist and rain to create a suitably grim atmosphere for Aussie director Justin Kurzel’s gritty incarnation of the classic Shakespeare tragedy.

Specialists charged with creating a wide range of sinister backgrounds and props for the film were forced to build a bespoke tubing system in order to cover vast areas of the landscape in eerie mist.

Even more surprising during a shoot that encountered “all the wetness of the elements”, huge stands had to be set up to provide realistic downpours of fake rain.

“It was clear from the outset that Justin had a very clear idea of what he wanted,” said the film’s special effects supervisor Mike Kelt, of Artem. “He was after a cold, atmospheric, misty, Scottish feel to permeate the film.

“The biggest challenge was covering vast areas of landscape with a consistent mist – whole hillsides had to disappear, enveloping armies and blotting out unwanted backgrounds."

The weather was so bad during shooting near the spectacular Quiraing at Trotternish early last year that some cast members actually suffered hypothermia. Lead actor Fassbender said: “It was pretty much horizontal rain, there was sleet and I think we had a bit of snow as well. So all weathers.”

“It got pretty bad there,” according to British actor Paddy Considine, who played Banquo.

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“A few people got hypothermia,” he said.

“We got hit by horizontal rain. It came and hit you sideways.” Mr Kelt added: “In some respects Justin was lucky; we were often battling with the ‘real’ weather, which was atrocious throughout most of the filming, and a challenge for everyone on the production.“ "On top of one Scottish hill we even grouped like Antarctic penguins, rotating positions to spread the pain. On that particular day we managed to cheer people up by finishing with a large burning pyre of bodies – something you might expect to be grim, but at least it offered some warmth. This can be seen near the start of the film.”

As well as mist, rain, smoke and fire, the “Scottish film” also required gallons of fake blood, prosthetic wounds and a lifelike full-size dummy of the murdered King Duncan. Actor David Thewlis had his body cast to make the mannequin, which he said created quite a stir when it was left “lying around”. And despite initial doubts, it proved so realistic he was able to finish his scenes early instead of playing dead.

“Rain, mist, smoke, fire and burning embers are all key elements in the world of Macbeth, together with prosthetics and gore for the battle scenes,” said Aura Hastings-Smith, the film’s producer.

The star-studded UK premiere took place in Edinburgh on Sunday. It hits cinemas on Friday.

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The Orrery

Is this the best Christmas window display of 2015? www.creativebloq.com /advertising/selfridges-christmas-window-display-111517932 A

stunning mechanical model of the solar system forms the centrepiece of the display Every Christmas, the big department stores of the world compete to create the most eye-catching, talkedabout window display designs. And iconic London store Selfridges – one of the few retailers to get its own TV drama series – is no exception.

This year Selfridges has tried to get the edge on the competition by bringing in SFX company Artem. With 27 years of experience, Artem have an impeccable pedigree; most recently working on Macbeth and In the Heart of the Sea, and creating 3D printed props for Ex-Machina and Halo 4.

For this year's Selfridges display, Artem has created a stunning mechanical model of the solar system, which forms the centrepiece of a cosmos-themed window display. The 2.8m gold and chrome model will rotate all day, every day until the New Year, with each of the planets orbiting independently.

Can other UK retailers beat this?

Artem's computer-aided design (CAD) software enabled the mechanics and components of the model to be designed alongside each other, explains Ritchie Beacham-Paterson, Artem supervisor on the project.

"Aside from the narrow timeframes, one of the biggest challenges was to create a model of such size and scale that could work reliably and smoothly without compromising its visual impact.

"It was therefore crucial that we had all aspects of, not just the aesthetics, but also the precise workings of this, locked off at a very early stage."

The project was

completed in just eight weeks from the first designs to the final installation.

Selfridges arranged for a film crew to record each stage of the construction by installing a series of timelapse cameras within Artem’s workshop and during the installation itself – you can watch the video below.

Liked this? Read these!

Words: Tom May Tom May is associate editor at Creative Bloq.

Artem SFX shoots for the stars with moving model of solar system for Christmas at Selfridges marcommnews.com /artem-sfx-shoots-for-the-stars-with-moving-model-of-solar-system-for-christmasat-selfridges/ Added by newsroom on November 20, 2015.

Saved under Latest, Marketing Tags: Artem, Christmas, Digital, Installation, Marketing, Retail, Selfridges, UK Award-winning creative special effects company, Artem, has recently completed an ambitious window installation for London’s Selfridges on Oxford Street.

The giant 2.8 metre orbiting orrery – a mechanical model of the solar system – forms the centrepiece of Selfridges’ 2015 cosmos-themed Christmas window displays.

The gold and chrome model will rotate all day, every day until the New Year, with each of the planets orbiting independently.

Artem’s computer-aided design (CAD) software enabled the mechanics and components of the model to be designed alongside each other. The project was completed in just eight weeks from the first designs to the final installation.

Selfridges arranged for a film crew to record each stage of the construction by installing a series of timelapse cameras within Artem’s workshop and during the installation itself. The final film is currently on display in another front window of Selfridges.

“The magnificent Orrery stands proudly at the start of our Oxford Street run of windows, gently orbiting within its own universe. We knew we could rely on the expertise at Artem to deliver a prop element as extraordinary as this,” James Barnett, Production Manager at Selfridges.

“Aside from the narrow timeframes, one of the biggest challenges was to create a model of such size and scale that could work reliably and smoothly without compromising its visual impact. It was therefore crucial that we had all aspects of, not just the aesthetics, but also the precise workings of this, locked off at a very early stage,” Ritchie Beacham-Paterson, Artem Supervisor on the project.

This is the third display that Artem has created for Selfridges in 2015. Previous displays include a window which was part of Selfridges ‘Strength’ campaign and another which was inspired by the work of 20th century Italian artist, Piero Fornasetti.

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SFX company shoots for the stars with moving model of solar system for Christmas at Selfridges 19 November 2015

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Award­winning creative special effects company, Artem, has recently completed an ambitious window installation for London’s Selfridges on Oxford Street.

The giant 2.8 metre orbiting orrery – a mechanical model of the solar system – forms the centrepiece of Selfridges’ 2015 cosmos­themed Christmas window displays.

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The gold and chrome model will rotate all day, every day until the New Year, with each of the planets orbiting independently. Artem’s computer­aided design (CAD) software enabled the mechanics and components of the model to be designed alongside each other. The project was completed in just eight weeks from the first designs to the final installation.

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Selfridges arranged for a film crew to record each stage of the construction by installing a series of time­lapse cameras within Artem’s workshop and during the installation itself. The final film is currently on display in another front window of Selfridges.

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“The magnificent Orrery stands proudly at the start of our Oxford Street run of windows, gently orbiting within its own universe. We knew we could rely on the expertise at Artem to deliver a prop element as extraordinary as this.” James Barnett, Production Manager at Selfridges.

“Aside from the narrow timeframes, one of the biggest challenges was to create a model of such size and scale that could work reliably and smoothly without compromising its visual impact. It was therefore crucial that we had all aspects of, not just the aesthetics, but also the precise workings of this, locked off at a very early stage.” Ritchie Beacham­Paterson, Artem Supervisor on the project.

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Sunset Song

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Award­winning SFX company recreates rural Scottish farming landscape for Terence Davies’ Sunset Song 07 December 2015

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Artem SFX, an award­winning physical special effects company, created a range of effects and atmospherics for Terence Davies’ latest film, Sunset Song, an adaptation of Lewis Grassic Gibbon’s classic novel, starring Agyness Deyn and Peter Mullan.

Working on location around Ballater in the Cairngorms National Park, out of the company’s Glasgow base, Artem created smoke effects and weather effects, including violent rain storms, wind and snow.

Artem also carried out a controlled fire on a section of a field to mimic the ancient farming practice of “burning the whins”.

Artem CEO, Mike Kelt, said, “It was a pleasure to work in such a beautiful part of Scotland on this film – we had excellent weather throughout the shoot so it was amusing that our job was to make the weather miserable, providing rain, a storm and some snow, alongside fire effects to burn the

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hillside”.

Sunset Song, written by Lewis Grassic Gibbon in 1932, is widely regarded as one of the most important Scottish novels of the 20th Century. After its adaptation for television in the 1970s and a theatre production, which toured in 2008, this feature film version of the book was shot in Scotland and abroad in 2014.

This project follows Artem’s involvement in Justin Kurzel’s highly acclaimed Macbeth film, starring Michael Fassbender and Marion Cotillard, creating mist, smoke, rain and fire, as well as gruesome prosthetic wounds and an ultrarealistic full body dummy of one of the film’s central characters.

Artem also created the special effects for the remake of the 1949 Whiskey Galore!, starring Eddie Izzard, due to come out next year.

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Artem combines the best of engineering expertise with creative flair to provide everything from prosthetics and props to pyrotechnics and animatronics. In 2012 Artem also helped to bring to life the enormous creative and logistical vision of the opening and closing ceremonies of the Olympics