As specialist loss adjusters operating in the film, television, and contingency markets, at Spotlite we routinely deal with large and complex losses which draw upon the extensive knowledge and experience of our adjusters. The Spotlite team has collectively been adjusting entertainment claims for more than 60 years and has built an unrivalled reputation in the sector for market-leading, industry-specific expertise.
Crucially though, in order to provide the rounded and complete service our clients and their customers need and expect, sometimes we cannot rely solely on our own in-house experience.
That’s why we work in partnership with highly experienced and skilled film, television, and media experts to support production companies in mitigating loss and getting the show back on the road without delay. These experts help ensure that our claim management is efficient, our reporting is accurate and the headache of being in a claim situation is mitigated for productions. Our partners cover a variety of specialisms including lighting and camera, visual effects, and production accountants.
Today we would like to shine the ‘Spotlite’ on Alan Church and Simon Giles (pictured), VFX supervisors, who have just finished filming the acclaimed ‘Tattooist of Auschwitz’ for Sky. Having worked as VFX consultants on insurance claims exclusively with Marion Jones, and latterly with Spotlite, for the past 25 years, Alan and Simon’s expertise has time and again proven invaluable in resolving complex claims.
Filmmaking, to a large extent, is about problem solving and no production claim is ever the same. Alan and Simon often bridge the gap between the loss adjuster and client to help evaluate how the claim arose and to find the best vfx solution. This collaborative approach is vital to ensure that all parties are aligned on the most effective strategies, enabling productions to get back on track swiftly and efficiently.
Numerous insurance claims for both film and television dramas have benefitted from Alan and Simon’s expertise over the years, from relatively simple colour and other correction fixes to head replacement and potential deep fake solutions. These frequently allow the show to be finished when artists or locations are no longer available or where reshooting is simply impossible.
We are proud to be able to provide the service we do, and our clients are reassured to know that we are supported by talented specialists with many years of entertainment industry experience.
Get in touch with the Spotlite team to explore how our post-production solutions could simplify and mitigate your claim scenario.