Tarwiah Travel: Rebuilding a Shoot in Post with Motion Transfer & AI VFX

Tarwiah Travel arrived with footage already in the can. The performances worked — the world they were sitting in did not. Some environments were incomplete, some were simply the wrong place, and the coverage the edit needed had never been shot.

The two traditional options were both bad: pay for a reshoot, or pay a CGI house to rebuild the frames at feature rates. We offered a third — keep the performance, rebuild everything around it.

First we replaced the world: partial sets and green screen became finished environments matched to the original camera's lens, height and light direction. Then in-scene retouch — screens, set dressing, wardrobe details, continuity errors — fixed inside the frame rather than cut around.

The harder half was motion transfer: taking the filmed performance and carrying it onto camera angles that were never captured. That is how a single set becomes an aircraft cabin, a hotel lobby, a mosque or a mountain road, without anyone going back on location.

The rule we hold on this kind of work: the client's edit stays intact. Same cut points, same timing, same performance beats. We are not reinterpreting the film — we are finishing it. That is why the case study page carries a frame-accurate before/after slider instead of a highlight reel.

Delivered in a typical 5–10 day window per campaign, at a fraction of both a reshoot and a conventional VFX quote. The footage the client had written off became the campaign they shipped.

Brands sitting on archive material, a shoot that came back short, or a campaign that needs a new market version without a new shoot: the performance is the expensive, human, irreplaceable part. Everything else in the frame is now rebuildable.