DM FX was founded in 2007 by head graphic artist D.D Dallas, to provide visual effects for the feature-length documentary 'Men At 40'. These FX ranged from digital colour timing to complete CG environments. Over 100 FX shots were created by Dallas and his team in a 4 month period, on a shoe-string budget.

In Autumn 2007, director L. Andrew Matthews approached DM FX to provide the extensive effects support for the short motion picture, FLESHBEAST.

This would prove to be far more challenging for Dallas and his team then was originally anticipated.

FFI met up with Dallas, and head animator Derek Arboghast to discuss the challenges and successes.

FFI - "Where does the phrase 'that'll do won't do fit' fit in with the work DM FX did on Fleshbeast?"

DD Dallas - "We basically didn't have any money or time required to do the work that was needed, but that didn't hinder what we achieved. The director had a clear vision of what was necessary, which was helpful as we were only able to provide a very limited amount of shots. When some of the finished work was presented it was done so due to time/budget restrictions rather than it being 100% what was asked for. So that usefully came back to us with a post-it attached...'that'll do...won't do'.

FFI - "What kind of shots were needed?"

DD Dallas - "Pretty much the full gambit. We were basically a one-stop shop for everything. Some of the most useful shots were the CG environments for the facility outside of the lab. L.Andrew knew what he wanted Kiltdown to look like, and the locations scouted weren't shaping up, so we suggested that CGI could provide what was necessary. And at a much lower cost. And due to the surealistic, fantasy level the filmmakers were going for, we didn't have to worry about 100% photo-realism. More of a stylised, gothic look."

FFI - "How long did the work take...and how many shots were needed?"

DD Dallas - "I'm not sure about the total number of shots...I'd say around 80-100. Less that Men At 40, but far more complex.  We started pre-production in October 2007 and finished up in August '08, with probably some additional shots required, taking us into September. So, it took around 10 months worth of work."

FFI - "How far did you push the envelope?"

Derek Arboghast - "As far as it would go. Our computers ran day and night, rendering almost 24/7. It's ironic that, for a film based on low-tech early 80s horror films, there are so many visual fx in it. We had to be very inventive, so that we could produce the shots with the limited equipment that we have."

FFI - "And is the film violent and gory?"

Derek Arboghast - "I'd say both. Initially it was created to be an absolute gore-fest. Yet the final product is relatively blood-free in comparison. Bruce Steele and his team provided prosthetic and make up props and DM FX produced some additional shots, including a severed head and arm. It was a good example of the two disciplines coming together."

Part of DM FX's remit was to produce a series on on-screen graphical displays

 Image distortion and CG bubbles were used to show a POV from inside the "Aqua-tank"

(From top left to bottom right) The various stages of the 'Crenzomb' sequence. The actor is separated from the background, which was filmed later due to the difficulties in timing the squib explosion. The eye then had to be removed from the make up for continuity. The scene was then digitally colour timed, with additional CG lighting added.

The "machine" sequence utilised live action with CG to enhance the existing image.