Having worked on the fantastic Any Human Heart last year it was wonderful to be sitting in a meeting in the Spring hearing about this project. In fact, from our point of view, it was to be a similar kind of show in post production. The story takes place in multiple locations across the globe with filming however restricted to just two. We therefore needed to seamlessly blend in 2D matte paintings and CG models to make South Africa and Cambridge look like New York, Washington, New Mexico, Canada, and Belgium.
Set in the 1940’s, there was a large amount of modern artefact removal. From a technical point of view this task was some of the most testing we have undertaken. For example, imagine a large roaming, slightly bumpy crane move with jib, pan, tilt and rotation. In this shot we see a major intersection full of modern day traffic lights, lampposts, flags, signs and their various reflections on a wet tarmac surface. We see these through shifts in focus, behind rain, steam and foreground action including cars and people also with shifts in focus. That kind of shot and a good dozen of them!
Another hefty amount of work was to enhance the amount of fire in a sequence in which there had been heavy bombing. Health and Safety usually stipulate that fire is not used around actors but in this instance all the pyro was upstate being used on the new Mad Max film! See before and after side by side in the clip below…
Meanwhile our CG team created period radio masts mounted on top of buildings and a pair of RAF Spitfires.
Director: Edward Hall
Producers: Hilary Bevan-Jones, Paul Frift
VFX Artists: Gary Brown, Fabio Vona, Ryan Passmore, Chris Bristow, Venancio David, Emma Taylor, Paul Wilmot, Pierre-Julien Fieux, Adrian Bergoff
Producer: Samantha Banack