An L.A. prosecutor's career collapses when she fails to convict an A-list actor of a double murder. Eight years on, the same celebrity is suspected of killing again, and she's pulled back into the case for another shot at justice.
Created by Marcia Clark, the lead prosecutor on the O.J. Simpson trial, alongside Elizabeth Craft and Sarah Fain, The Fix is a ten-episode legal drama for ABC, with the Los Angeles backdrop sitting at the centre of the story. Robin Tunney leads the cast as Maya Travis, opposite Adewale Akinnuoye-Agbaje as Sevvy Johnson.
Future Associate delivered 150+ VFX shots across the series. The work was largely 2D: bluescreen compositing, screen replacements, label changes, matte painting and digital cosmetic work, building out the world around the actors and grounding studio coverage in the locations the story called for.
/ Rooftop Car Park
A pivotal dialogue scene plays out between two characters parked on a rooftop car park. The car interior was shot in studio against bluescreen, with production providing background plates captured on a real rooftop. Our task was to bring the two together, placing the actors convincingly inside the location.
The compositing challenge sat in the glass. Many of the shots look through the back windscreen and the front windscreen simultaneously to find the actors inside, meaning we were working through multiple layers of glass and the reflections that came with them. Surface reflections on the body of the car needed to read correctly against the new background, and the through-glass views had to hold up under scrutiny. The same scene plays out in standard two-shot and profile coverage as well: over-the-shoulder and side-on angles where we composited the surrounding car park, buildings and skyline through the windows. Across the cut, the geography needed to stay consistent so the scene reads as a single continuous moment rather than a collection of studio takes.
/ Bathroom — Sunset Over Ocean
An interior bathroom scene called for a view out to a sunset sky over the ocean. The bathroom was shot in studio with bluescreen rigged outside the windows, and we composited in a sunset and ocean plate supplied by production: a moving plate, with water actively rolling across the horizon line. The work runs across multiple windows and angles in the sequence, with the ocean view continuing seamlessly through each, holding the time of day and the sense of place consistent across the cut.
/ Whiskey Bottle Label Replacement
A character pours a whiskey, and the camera moves around the bottle as the action plays. The bottle on set was Glenfiddich, and the label needed to be replaced with a fictional brand for clearance.
A static label swap is straightforward. A label swap on a bottle the camera is actively orbiting is not. We 3D camera-tracked the bottle so the replacement label could be locked to its surface across every frame, holding through the move without slipping.
/ FBI Seal — Digital Matte Painting
Production had dressed an interior to read as the FBI, with signage on the walls identifying the federal building. To lift the production value and finish the location properly, we added a bronze FBI seal on the floor as a digital matte painting.
The detail that sells a matte painting like this is the surface response. The seal isn't a single material: the field is matte and flatter, while the text and central insignia are polished and far more reflective. We varied the specularity across the painting accordingly, so the lettering and insignia caught the light in the scene and read clearly while the surrounding bronze sat back. That contrast between matte and shiny is what makes the seal feel embedded in the floor rather than laid on top of the plate.
/ TV Screen Replacement & Blue Spill Restoration
A scene played out with characters sitting close to a large television screen, with the screen lit blue on set. The blue light infected everything around it, spilling onto the actors' faces, hands and clothing, and the reverse coverage was where the problem hit hardest, with leads reading blue across the skin.
The fix was a heavy despill and skin tone restoration on the actors, with careful attention to the eyes and lips so we weren't stripping out the natural blue tones that belong there. On the TV screen itself, we composited in news reader footage and accompanying news graphics supplied by production. A practical lamp sitting near the TV cast a reflection across the screen that needed to survive the replacement. We preserved that reflection through the comp so the new screen content sat in the room properly rather than reading as a flat insert.