FIN served as the sole visual effects vendor for Justin Kurzel's television adaptation of Richard Flanagan's Booker Prize-winning novel The Narrow Road to the Deep North. The five-episode series, which is produced by Sony Pictures Television’s Curio Pictures, spans three time periods—the pre-war 1940s, World War II, and the late 1980s—with FIN delivering 137 visual effects shots under VFX supervisor Justin Bromley.
Working within Kurzel's directive to prioritize story and cinematography over effects, FIN adapted to challenging shooting conditions including handheld camerawork, atmospheric smoke, fog, and anamorphic lenses. The team's primary task was transforming New South Wales' South Coast into wartime Burma through digital terrain manipulation, 3D foliage integration, and 2D compositing.
The project encompassed a wide range of technical achievements. The team employed crowd duplication using 2D-plate techniques to expand scenes from 30 extras to crowds of 100 or more. Period-accurate environment modifications required removing modern infrastructure and adding era-specific elements, while a recurring CG train was created to represent the POW railway. Digital set extensions were crucial for railway scenes, including tunnel structures and track extensions, alongside a detailed 2D matte painting recreation of post-bombing Tokyo. The work also included seamless integration of practical and digital effects for intimate scenes, including complex prosthetic transitions, and digital architecture manipulation such as hotel height extension and repositioning.
The project demanded precise coordination between FIN's team and the production department to maintain authenticity across multiple time periods. Despite the technical complexity, the visual effects remained subtle and unobtrusive, supporting the narrative without compromising the director's raw, atmospheric vision.
The result is a masterclass in invisible visual effects work that enhances the historical accuracy and emotional impact of this wartime drama while remaining true to Kurzel's naturalistic shooting style.
