Silver Spike
Product / ServiceNRMA INSURANCE
CategoryB02. Colour Correction / Grading
Post Production HECKLER Sydney, AUSTRALIA


Name Company Position
Brent Smart IAG CMO
Sally Kiernan IAG Director, Brand Marketing
Zara Curtis IAG Director, Content & Customer Engagement
Caroline Hugall IAG Director, Group Brand Strategy
Luke Farrell IAG Director, Marketing Operations
Sam McGown IAG Creative & Innovation Lead
Elizabeth Stokes IAG Creative & Innovation Lead
Mahsa Merat IAG Creative & Innovation Specialist
Ant White CHE Proximity Chief Creative Officer
Chris Howatson CHE Proximity Chief Executive Officer
Holly Alexander CHE Proximity Director of Production
Glen Dickson CHE Proximity Executive Creative Director
Wesley Hawes CHE Proximity Executive Creative Director
Gavin Chimes CHE Proximity Creative Director
Mark Tallis CHE Proximity Senior Art Director
Cameron Dowsett CHE Proximity Senior Copywriter
Katie Dally CHE Proximity Client Partner
Charles Todhunter CHE Proximity Senior Account Manager
Nick Andrews CHE Proximity Director, Brand
Darren Cole CHE Proximity Head of Design
Vanessa Saporito CHE Proximity Designer
Reece Lawson CHE Proximity Digital Design Lead
Justin Kurzel Revolver Director
Michael Ritchie Revolver Managing Director/Executive Producer
Pip Smart Revolver Executive Producer
Serena Paull Revolver Producer
Ian Iveson Revolver Producer
Sam Chiplin Revolver Director Of Photography
Pete Baxter Revolver Production Designer
Jack Hutchings Revolver Editor
Jamie Watson Heckler Co-Founder/VFX Supervisor
Bonnie Law Heckler Executive Producer
Tom Corbett Heckler Head of 3D
Olivier Fontenay Heckler Colourist
Mark Chataway Heckler FX Artist
Maxence Pellion Heckler Senior Compositor
Brad Smith Heckler Senior Flame Artist
Dan Page Heckler I/O & Edit Assist
Antony Partos Sonar Music Music Composer
Andy Wright Sonar Music Mixer
Sophie Haydon Sonar Music Executive Producer

Write a short summary of what happens in the film.

Our films opens in the cab of a fire truck. Sirens and urgent chatter are heard as the truck races through a rural Australian town. We are experiencing the chaos of being a first responder to a fire. Full of adrenaline and measured concern, our fire fighters drive down dirt roads to find themselves faced with burning bushland. Prominent dates of major bushfires intercut with these images rooting them in reality. This is an accurate reenactment of very real, and recent, events. We close the film sitting in the cab of the firetruck, looking out at smoke and embers enveloping the bush. In a moment of reverence it's acknowledged that there are some days that not everyone can help but on days that its possible, we do.

Cultural / Context information for the jury

This highly emotional film really hits to the heart of the Australian viewer as it references real events in our history. Major bushfires occurred on New Years Day 2020 in which many lost their homes, 18,636,079 hectares were burned and it is estimated over 3 billion animals died. This film highlights the the magnitude of that day and other similar catastrophes prior without glossing over their severity. The films intention is a call to action for people to make their homes bushfire safe.

Tell the jury about the colour grading.

With such a realistic reenactment, the colour grading needed to enhance the dramatisation but also settle the viewer into the action. The colour grading worked to take us through the daylight tones from morning to a dark dramatic fire fighting scenes. From softer colouring at the beginning of the film to the stark contrast between the blaze and the figures we take the audience through a journey echoing what first responders go through in such extreme times.