We shot the pilgrims. We built the pilgrimage.
Two campaign films for a Hajj and Umrah operator, shot on partial sets and green screen in a single location. Every environment the pilgrims move through — the aircraft, the hotel, the Haram, Arafat — was built in post. Delivered in six days.
Client
Tarwiah Travel
Scope
VFX + Environment Build
Worlds
Partial Set → Makkah
6 days
brief to master
15+
shots rebuilt
9
environments built
75%
saved vs. a CGI build
Saving measured against traditional visual-effects quotes for the same sixteen-shot shot list.
The plate is the performance. Everything else is ours.
A traditional pipeline would have priced this as a CGI build — matte painting, camera tracking, rotoscoping, lighting, compositing. We took the same plates and rebuilt every world around the cast with a curated AI stack under full art direction. Nothing was reframed, retimed or re-cut to flatter the result. The delivered frame sits on the original frame, second for second, which is why the before-and-after reads as proof rather than a showreel.
01
Environment Replacement
9 worlds built
Green screen and partial sets replaced with full aircraft interiors, a finished hotel suite, a stone arcade, the Haram terrace and Mount Arafat.
02
In-Scene Retouch
Screens, set dressing, wardrobe
Practical monitors given live broadcast content, set dressing corrected, wardrobe and continuity fixed inside the shot without a reshoot.
03
Motion Transfer
Performance preserved
Where a shot needed a camera angle that was never filmed, the performance was transferred onto a rebuilt setup — the actor's timing kept frame-accurate.
The plate, then the frame. Second for second.
A garden on a single set. An aircraft at altitude.
The production had one location, a partial cabin mock-up and a green screen. The script needed an airline, an airport, a hotel, a mosque and a mountain. Nine environments were built from those plates.
Drag each frame to compare the original plate with the delivered shot.
Not just the background. Everything inside the frame.
The hardest fixes are the ones nobody notices. A dead television becomes a live feed from the Haram. A shade sail becomes a colonnade. The eye never stops on the change.
The angle we never shot. The performance we did.
One sequence needed coverage that didn't exist on the day. Rather than recall the cast, the filmed performance was transferred onto a rebuilt setup — same timing, same actor, new camera.
AI didn't replace the crew. It replaced the CGI department.
The cast, the wardrobe, the direction and the camera work are exactly as filmed. What changed is the part of the budget that used to go to a three-month visual effects build. Six days, one location, and a finished campaign the client could take to broadcast.