For the critically acclaimed Cinemax series, The Knick, helmed by Academy Award-winning and Emmy-winning director Steven Soderbergh (Traffic, Side Effects, HBO’s Behind the Candelabra) and starring Academy Award and Emmy-nominated actor Clive Owen (Closer, Children of Men, HBO’s Hemingway & Gellhorn), Phosphene, the lead VFX house, created effects that ranged from complex character augmentation to detailed period set extensions, medical enhancements and period anachronisms. Cinemax, owned and operated by HBO, has recently committed to a second season for the period drama, set in downtown New York in 1900, and centers on Knickerbocker Hospital and the groundbreaking surgeons, nurses and staff, who push the boundaries of medicine in a time of astonishingly high mortality rates and zero antibiotics. Among numerous other highly complex and creative effects, under the direction of Creative Director John Bair and VFX Executive Producer Vivian Connolly, Phosphene’s team created a CG face replacement for Abigail, a central character played by Jennifer Ferrin, substituting the actor’s nose with a CG version to simulate a face disfigured by Syphilis. On her collaboration with Phosphene The Knick VFX Supervisor Lesley Robson-Foster said, “We solved a tricky series of shots together using a combination of CGI, special effects prosthetic elements and compositing.
VFX Producer Parker Chehak added, “No one ever said ‘cool’ or ‘nice work’ when they saw those shots.
Raff continued: “Using NukeX, I integrated these renders of Abigail’s nose cavity onto the footage of the actress, maintaining photo-real lighting across shots that had Abigail moving her head from side to side and passing through light and shadow. In addition to Bair, Connolly, Dunn, Raff, Miller and Lee, the Phosphene creative team included Digital Artists Luciano DiGeronimo, Kevin Jones, Christian Lowe, Thomas Panayiotou, Eddie Porter, Greg Radcliff, Tonya Smay, Tommy Smith, Jason Tsang, Tim Van Horn and Scott Winston.
An original 10-part series, The Knick was created and written by Jack Amiel and Michael Begler (Raising Helen, Big Miracle), who also served as executive producers, along with Gregory Jacobs (Behind the Candelabra); Steven Soderbergh, Michael Sugar (Rendition), and Clive Owen.

Being the first 4K television series undertaken by Phosphene, major technology upgrades were implemented to ensure that they were able to handle the large amounts of data without a hitch, including setting up a state-of-the-art 4K monitor and playback system to provide real-time previews.
The film-to-tape assignment was handled by Colorist Martin Zeichner at Deluxe (New York) with Sam Uber as Conform Editor.
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MelAus PartnersBANNERS DESIGNS TEMPLATES FREE Signdownloads for free we have about banner complicated task to findbanner. The effect had to be seamless since Abigail’s altered face stayed at the center of the frame for an extended dialogue scene.” In addition, the creative needs of the show sometimes called for interaction of the surgical instruments within the nose cavity.
Phosphene’s VFX team met early with Lesley Robson-Foster and Parker Chehak to determine the best way to approach this effect, which had to appear highly realistic, always maintaining a fine balance between showing Abigail’s disfigurement whilst letting the natural beauty of her character shine through. Vaping Vamps e-cigarette starter kits and products are not affiliated or connected with e-cigarette starter kits or products made or sold by Vapor Brands or Vampire Brands.

In those instances, Phosphene created CG extensions for the practical surgical instruments. In addition, Phosphene utilized tools such as 3ds Max, V-Ray for 3ds Max, NukeX, and Agisoft PhotoScan. Phosphene then animated the side flaps of the nose to match the interaction of the CG instrument tips. CG Artist Kim Lee painstakingly animated all of the slight twitches and stretches of the nose cavity we see as Abigail moves her face and speaks to Dr.

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