PLEASE BE AWARE THIS VIDEO CONTAINS COMPUTER GENERATED BLOOD, IMAGES OF SURGERY AND ADULT THEMES
We delivered over 160 VFX shots for 22 July.
Working alongside Netflix and director Paul Greengrass, we delivered visual effects across multiple complex sequences and multiple disciplines including prosthetic enhancement, DMP, set extension and CG environments.
This was a fascinating project for us, not only due to the nature of the work and the opportunity to work with Paul Greengrass again after Jason Bourne, but also due to the tragic subject matter, as Senior VFX Supervisor Marcin Kolendo explains:
"Working in the VFX industry has introduced me to a vast variety of tasks; gory, brutal, bloody and horrific scenes included. On 22 July there was an additional, incredibly touching and emotional aspect to the work: it all happened in real life.
"As an artist you do have to distance yourself a little from the brutal reality of our world and focus on tasks that lie ahead, tell the story, make sure the work is seamless and meeting industry standard while keeping in mind that the subject is very sensitive.
"At Outpost we take the feelings of each of our artists seriously and, on this occasion, we had to reshuffle a few shots at artists’ requests because of what we were seeing on the screen.
"It is a very delicate balance but the team was really understanding, communicative and incredibly respectful of the sensitive nature of the project."
To see more of our work, head to outpost-vfx.com.
We delivered over 160 VFX shots for 22 July.
Working alongside Netflix and director Paul Greengrass, we delivered visual effects across multiple complex sequences and multiple disciplines including prosthetic enhancement, DMP, set extension and CG environments.
This was a fascinating project for us, not only due to the nature of the work and the opportunity to work with Paul Greengrass again after Jason Bourne, but also due to the tragic subject matter, as Senior VFX Supervisor Marcin Kolendo explains:
"Working in the VFX industry has introduced me to a vast variety of tasks; gory, brutal, bloody and horrific scenes included. On 22 July there was an additional, incredibly touching and emotional aspect to the work: it all happened in real life.
"As an artist you do have to distance yourself a little from the brutal reality of our world and focus on tasks that lie ahead, tell the story, make sure the work is seamless and meeting industry standard while keeping in mind that the subject is very sensitive.
"At Outpost we take the feelings of each of our artists seriously and, on this occasion, we had to reshuffle a few shots at artists’ requests because of what we were seeing on the screen.
"It is a very delicate balance but the team was really understanding, communicative and incredibly respectful of the sensitive nature of the project."
To see more of our work, head to outpost-vfx.com.
- Category
- CG Movie - Making Of