I took over the delivery of this show as yet another 911 job (after it had been in progress for ten months) when the entire team working on the show left suddenly. We had no finals, only ~300 rough slapcomps. (I don't recall the full shot count but it was around 300 or more). Investigating each shot to find out what their status was, all paint, roto and matchmoving had to be entirely redone -plus the comps, of course. I had been told by the outgoing supe that all shots were final, just pending final graphics updates. But this was not exactly the case, since none of the screen inserts tracked properly, no edge work was done nor was their any integration work accomplished. many were also not even started. I hired a new team and outsource crews for assistance and we finished the show in 3 months. Because the client was making changes to graphics' designs past delivery day, we were fortunate to have the extra time to do this emergency start-over job and managed to pull off a small miracle with 4 artists on my comp team and 2 freelancers. I'd like to give a special shout-out to Walid Ben Henda, who went above and beyond the call of duty to redo all the camera tracking to an exceptional degree of quality. best MM artist and supervisor you will ever find. The work consisted of screen inserts but they were very complex. I shall breakdown two major set pieces only here and leave out all the other work done. The control centre set had a great amount of cleanup to do on the floor beneath all the operatives' desks as well as providing roto. I also took charge of all outsource vendors and freelancers and was client-facing on the project. One set, the control centre, had 76 screens to fill and there were many shots where you saw them all in the same scene. The two large screens were actually massive, backlit white plexiglass frames, inset into the set wall so there was an exacting degree of fidelity to acquire in order to get these to fit inside those frames - to say nothing of the work to integrate a dark GFX element into each. It is especially noticeable in the scenes where we see them filling frame and then have the camera back away. Those shots are the ones where the inset structure can be visible; so they required a painstakingly precise level of matchmove accuracy. As mentioned, all our camera tracks had to be redone, so I hired a new person to take care of it since the original outsource was unable to deliver the quality required. My new MM artist did outstanding work in handling every shot, providing the comp team with cameras, geometry and lens distortions that worked without any need for frankencomping; which is what the previous comp team were trying to do in all their shots prior to my taking over the show. Additionally, there were a large array of plexiglass screens, and because their thickness was a factor, their need for precision camera tracking was also evident since the camera's motion through the set revealed flaws when this was not taken into account. Again our new MM artist handled each shot with excellence, and my new comp team - brought in at the last minute to redo every shot- did stunning work. Some shots were shared with another vendor, so comps with the aftermath of the battle in the oil room could be inserted into our comps, since we completed our work before another vendor, who was also pushing to finish the show on their end. For this, we provided final renders of our shots with the missing screen areas blank with a dimatte channel for the element to be inserted, plus additional mattes for re-inserting screen and floor reflections. The large screens in the control centre also had a lot of cleanup required to hide unwanted reflections and seams, while other reflections had to be maintained. I originally bid the show long in advance of the project happening, but was not involved with the show when it was awarded, not until it was an emergency to fix. But the comp work was not being done as I initially bid and planned, the original lead and supe wanted it all done entirely in comp, which I knew would be more time and effort. Unfortunately, the process chosen by others for these shots involved bringing massive amounts of geometry into Nuke for each shot which became ungainly. I knew from experience this was not an adequate workflow unless there were fewer inserts, but this is how they went ahead with them anyway and the artists suffered under extremely complex comp scripts that choked the machines. This was why I had planned the show to be done differently. But it was too late by the time I took over the show and we had to make do with working as the shots were originally being done. We had no time to get a CG crew to do renders. It was a slow and crash-prone workflow but they worked in the end, once we had the paint and roto work re-assigned. What also helped was we were able to remove a lot of frankencomp work from previous versions to speed up the work on the larger shots. Because the large screens were white in the main control room set, edge issues became a tremendous challenge to deal with for integration especially since that screen insert had a black backing. It took extra attention to detail without being able to take care of edges in traditional methodology. Alfie's barn had another large screen, but it was actually comprised of 9 large flat-panel TV screens. The client wanted his display to appear as a single screen, so a lot of cleanup was required to remove the television screen frames. As well, they were not aligned perfectly straight so that had to be done along the outside edges of the frame as well. Again, precision matchmoving was critical for these plus his small desk displays. All of which reflected on his desktop. The flat panel TV's had a bright white backdrop, which made a lot of the shots troublesome for integration and handling edges. Argylle was one of the toughest 911 jobs I had to do, but was not the first time i had to jump in to take over a show that went off the rails. I am very proud of the final result. It was a team effort, and our client was understanding, supportive and pleased with how we managed to take a difficult project and turn it around quickly.