The most technically demanding sequence featured a photo-realistic 3D fly that the film's protagonist is desperately trying to shoot. The fly was modelled, animated, and rendered in Softimage|XSI. Creating convincing animation required studying real reference material — including, somewhat unusually, capturing a live fly late in the autumn season to analyse its movement and behaviour.

Additional effects included digital blood and smoke enhancements, compensating for a failed smoke machine during the second day of shooting. I also handled several clean-up shots, removing boom-mic shadows and other unwanted elements.

Close collaboration with the director and editor ensured the visual effects supported the comic rhythm of the story without unnecessary iterations. With a very limited budget, careful preparation and thorough on-set reference collection were key to achieving high-quality results efficiently.

The film has since been screened and awarded at multiple international festivals, and the project provided a valuable opportunity to return to my animation roots and photo-real visual effects within a compact storytelling format.