English
Arabic
French
Spanish
Portuguese
Deutsch
Turkish
Dutch
Italiano
Russian
Romaian
Portuguese (Brazil)
Greek
How an airfield in the UK was turned into the Iraqi city of Ramadi for Alex Garland’s ‘Warfare’
Behind the film’s invisible visual effects by Cinesite, including environments, aerial surveillance footage and those stunning F-18 show of force shots.
Warfare, written and directed by Ray Mendoza and Alex Garland, is based on Mendoza’s own experiences as a US Navy SEAL in a deadly moment during the Iraq War. It follows the action as a Navy SEAL platoon takes over a suburban Ramadi street before they come under attack. When they attempt to flee and call in a Bradley Fighting Vehicle, an IED explosion results in severe casualties and a further rescue.
Cinesite, led by visual effects supervisor Simon Stanley-Clamp, was responsible for the film’s visual effects. This ranged from taking original plates for the house and surrounding street areas shot at at an airfield and fleshing out the environment to resemble the Iraqi city, to realizing gunfire and weapon hits, and some dramatic ‘show of force’ F-18 shots.
Here’s how they did it.
The shoot
The film was shot at Bovingdon Airfield Studios in Hertfordshire, UK. The Ramadi street set was completely built there as an outdoor location in the airfield’s car park. “Initially,” recounts Stanley-Clamp, “the plan was to build just the one house and digitally do the rest. But then the plan went to six houses in close quarters around the hero house where the incident takes place. It grew finally to eight houses, one was a complete working house, with a working staircase, and then the houses off it are flattage, but good flattage with enough depth to work.”
Surrounding the housing set were two ‘massive’ bluescreens, as Stanley-Clamp puts it. “They were 20 feet high by 120 feet wide. Then I had a couple of floating bluescreens on Manitou’s that we could drive in to plug a gap here and there.”
Cinesite was then responsible for extending the street environment and completing some sky replacements. “Production designer Mark Digby’s set was so well-built,” says Stanley-Clamp. “Sometimes, with a set for a castle or something like that, when you get up close to the set, you can tell it’s plaster and wood and canvas. But the textures we sourced from Mark’s set are what we use to duplicate and replicate out the rest of the build in CG. Our build was completely based on their architecture.”
The IED explosion
As a Bradley Fighting Vehicle arrives at the house and members of the platoon leave to enter it, an IED fixed to a lamppost is detonated next to the tank. Special effects supervisor Ryan Conder orchestrated the explosion. “It was shot with a lot of dust and debris and with light bulbs inside so that it was very bright,” says Stanley-Clamp. “We had prepped visual effects simulations to add to the dust and debris, but Alex essentially said, ‘No, it works, that’s what I want.’ What we did add was some burning phosphorus that stays alight for around four minutes. There was also a small pick-up bluescreen shot for a soldier falling.”
“After the main explosion,” continues Stanley-Clamp, “there’s the moment where there’s just a lot of smoke. We added about 45% more smoke and tiny particulate, so small you barely register it, but you “feel” it’s presence. There’s a lot of subtle compositing work going on inside there. At one point, two of the soldiers are standing almost next to each other, but they don’t know that they’re standing next to each other. So we were having to roto each soldier off the plate and then layer smoke back over them and then reveal them and push them back. It was a lot of fine-tuning.”
Prosthetics designer Tristan Versluis delivered a number of prosthetics and bloody make-up effects for the resulting IED explosion injuries. Cinesite’s contributions here were only minimal, advises Stanley-Clamp. “There’s one particular shot where we put in a fluid blood sim running as a character cuts open the trouser leg. Arterial veins and things should be pumping a little bit of blood, so we put some fluid blood in running off the wound and a couple of other little embellishments.”
Show of force
At three points in the film, platoon members call in a ‘show of force’ from an F-18, which involves a loud fly-by the house designed to intimidate those surrounding it with an almighty sound and pulsating wave of dust and debris.
“The show of force was going to happen only once,” notes Stanley-Clamp, “and it was one of those shots where we were told, ‘You won’t see the jet, just hear it.’ Well, in the end, they wanted a trailer-type shot for this. Also, that first show of force is the only time we used a bit of fancy camera kit where we were on a long arm and dropped the camera down. Usually, we were right there all the time with the platoon. For that shot, Alex said, ‘Faster, faster, faster—what happens if you run it double speed?’ We ran it double speed and it worked.”
“We worked with the physics of the environment and we measured everything out,” adds Stanley-Clamp. “I mean, it’s traveling at something like 400 miles an hour. With the camera coming down, there was actually a weird optical illusion. It made it look like the plane was going up. So we had to do some tricky things to make that work.”
For the resulting wave of dust and debris, Cinesite had Lidar scans of the set, and used a model of the houses and street to aid in simulations and extra backdrafts, utilizing Houdini. Says Stanley-Clamp: “We even went in and added moving palm trees, put more sand on the ground that could lift up, and then would scrape it back so you are left with patches of exposed ground.”
Stanley-Clamp’s other main memory of those show of force moments was the sound. “So, the set was rigged for sound, meaning, the sound was built into our set. When that show of force happened, the first time it happened, I was looking for that fucking jet! Where did that come from?! It was absolutely deafening. Same goes for the call to prayer, the dogs barking, people chattering out in the street, it was all there.”
Aerial surveillance
Inside the house, the platoon has a computer with aerial maps and surveillance of their location, showing the house from above and movement around it. These screens were initially intended to only be featured briefly, but Stanley-Clamp took it upon himself to prepare some graphics that could be played back during the shoot. “In editorial,” he says, “they started to cut in the graphics that had been made, and they found it really helped with the exposition. So, they needed more.”
Using the CG models constructed for the set extensions, Cinesite expanded the buildings out to a full grid of streets and residences. Adding in soldiers and other people was then necessary for the surveillance screens. At a pick-up shoot back at Bovingdon airfield, this time on the actual runway, a large 400 foot long bluescreen was laid on the ground, and a drone used to film action from 200 feet up in the air.
“We used this to film the equivalent of running down a street,” outlines Stanley-Clamp. “We had actually previs’d it with walk cycles that I had generated myself, but Alex said, ‘It’s got to be real people. Not mocap. You can tell they’re pixels, you can tell.’ For a day shoot, I got hours and hours and hours of footage, which I could never have generated in CG. Plus, I got whole platoons to walk down the street, not just individual people.”
The result was a collection of elements that brought some realistic-looking parallax to the surveillance screens, suggests Stanley-Clamp. “In fact, at one of the test screenings with some marines, the feedback from them was, ‘Where did you get hold of the footage? It’s so good.’ They thought it was real footage.”
For the actual look of the footage, Cinesite consulted with Mendoza on whether it took on an infrared, ultraviolet or ‘heat seek’ look, the latter of which is what they settled on. “Right up until very close to the end,” notes Stanley-Clamp, “I thought, ‘It’s not quite right.’ So we grunged it down and raised it back up. It was looking too clean. We had to remember this was set in 2016 and effectively the tech then is a little different. You can buy night-vision goggles now or shoot night vision with drones and the quality’s ridiculous. But we had to go back to the reference, although we found that it can be hard to find that old reference.”
Subtle effects
Warfare’s use of subtle visual effects extended also to weaponry. For shots requiring the Bradleys to fire from their central gun barrels, Cinesite provided a large muzzle flash and resulting smoke, timed to practical explosions rigged to buildings. Gunshots and muzzle flashes were also added to soldier firearms, along with accompanying CG bullet, phosphors and masonry hits.
Cinesite’s muzzle flashes related directly to the choice of camera. The film was shot largely on a DJI Ronin lightweight camerathat allowed for fast set-ups and being able to maneuver in small spaces. “We did some experiments and found that shooting at 30 fps gave us the best retention of muzzle flashes,” explains Stanley-Clamp. “You would not always see a muzzle flash go off, so sometimes we’ve enhanced a muzzle flash that’s in there or put additional ones in.”
“It was a bit different for something like tracer fire,” adds Stanley-Clamp. “You might think trace fire is there the whole time. It’s not. It’s about every fifth shell that goes off, that’s where you will get a tracer fire. Alex would be counting them. ‘No…no…now!’ That was a good learning curve.”
The post How an airfield in the UK was turned into the Iraqi city of Ramadi for Alex Garland’s ‘Warfare’ appeared first on befores & afters.
#how #airfield #was #turned #into
How an airfield in the UK was turned into the Iraqi city of Ramadi for Alex Garland’s ‘Warfare’
Behind the film’s invisible visual effects by Cinesite, including environments, aerial surveillance footage and those stunning F-18 show of force shots.
Warfare, written and directed by Ray Mendoza and Alex Garland, is based on Mendoza’s own experiences as a US Navy SEAL in a deadly moment during the Iraq War. It follows the action as a Navy SEAL platoon takes over a suburban Ramadi street before they come under attack. When they attempt to flee and call in a Bradley Fighting Vehicle, an IED explosion results in severe casualties and a further rescue.
Cinesite, led by visual effects supervisor Simon Stanley-Clamp, was responsible for the film’s visual effects. This ranged from taking original plates for the house and surrounding street areas shot at at an airfield and fleshing out the environment to resemble the Iraqi city, to realizing gunfire and weapon hits, and some dramatic ‘show of force’ F-18 shots.
Here’s how they did it.
The shoot
The film was shot at Bovingdon Airfield Studios in Hertfordshire, UK. The Ramadi street set was completely built there as an outdoor location in the airfield’s car park. “Initially,” recounts Stanley-Clamp, “the plan was to build just the one house and digitally do the rest. But then the plan went to six houses in close quarters around the hero house where the incident takes place. It grew finally to eight houses, one was a complete working house, with a working staircase, and then the houses off it are flattage, but good flattage with enough depth to work.”
Surrounding the housing set were two ‘massive’ bluescreens, as Stanley-Clamp puts it. “They were 20 feet high by 120 feet wide. Then I had a couple of floating bluescreens on Manitou’s that we could drive in to plug a gap here and there.”
Cinesite was then responsible for extending the street environment and completing some sky replacements. “Production designer Mark Digby’s set was so well-built,” says Stanley-Clamp. “Sometimes, with a set for a castle or something like that, when you get up close to the set, you can tell it’s plaster and wood and canvas. But the textures we sourced from Mark’s set are what we use to duplicate and replicate out the rest of the build in CG. Our build was completely based on their architecture.”
The IED explosion
As a Bradley Fighting Vehicle arrives at the house and members of the platoon leave to enter it, an IED fixed to a lamppost is detonated next to the tank. Special effects supervisor Ryan Conder orchestrated the explosion. “It was shot with a lot of dust and debris and with light bulbs inside so that it was very bright,” says Stanley-Clamp. “We had prepped visual effects simulations to add to the dust and debris, but Alex essentially said, ‘No, it works, that’s what I want.’ What we did add was some burning phosphorus that stays alight for around four minutes. There was also a small pick-up bluescreen shot for a soldier falling.”
“After the main explosion,” continues Stanley-Clamp, “there’s the moment where there’s just a lot of smoke. We added about 45% more smoke and tiny particulate, so small you barely register it, but you “feel” it’s presence. There’s a lot of subtle compositing work going on inside there. At one point, two of the soldiers are standing almost next to each other, but they don’t know that they’re standing next to each other. So we were having to roto each soldier off the plate and then layer smoke back over them and then reveal them and push them back. It was a lot of fine-tuning.”
Prosthetics designer Tristan Versluis delivered a number of prosthetics and bloody make-up effects for the resulting IED explosion injuries. Cinesite’s contributions here were only minimal, advises Stanley-Clamp. “There’s one particular shot where we put in a fluid blood sim running as a character cuts open the trouser leg. Arterial veins and things should be pumping a little bit of blood, so we put some fluid blood in running off the wound and a couple of other little embellishments.”
Show of force
At three points in the film, platoon members call in a ‘show of force’ from an F-18, which involves a loud fly-by the house designed to intimidate those surrounding it with an almighty sound and pulsating wave of dust and debris.
“The show of force was going to happen only once,” notes Stanley-Clamp, “and it was one of those shots where we were told, ‘You won’t see the jet, just hear it.’ Well, in the end, they wanted a trailer-type shot for this. Also, that first show of force is the only time we used a bit of fancy camera kit where we were on a long arm and dropped the camera down. Usually, we were right there all the time with the platoon. For that shot, Alex said, ‘Faster, faster, faster—what happens if you run it double speed?’ We ran it double speed and it worked.”
“We worked with the physics of the environment and we measured everything out,” adds Stanley-Clamp. “I mean, it’s traveling at something like 400 miles an hour. With the camera coming down, there was actually a weird optical illusion. It made it look like the plane was going up. So we had to do some tricky things to make that work.”
For the resulting wave of dust and debris, Cinesite had Lidar scans of the set, and used a model of the houses and street to aid in simulations and extra backdrafts, utilizing Houdini. Says Stanley-Clamp: “We even went in and added moving palm trees, put more sand on the ground that could lift up, and then would scrape it back so you are left with patches of exposed ground.”
Stanley-Clamp’s other main memory of those show of force moments was the sound. “So, the set was rigged for sound, meaning, the sound was built into our set. When that show of force happened, the first time it happened, I was looking for that fucking jet! Where did that come from?! It was absolutely deafening. Same goes for the call to prayer, the dogs barking, people chattering out in the street, it was all there.”
Aerial surveillance
Inside the house, the platoon has a computer with aerial maps and surveillance of their location, showing the house from above and movement around it. These screens were initially intended to only be featured briefly, but Stanley-Clamp took it upon himself to prepare some graphics that could be played back during the shoot. “In editorial,” he says, “they started to cut in the graphics that had been made, and they found it really helped with the exposition. So, they needed more.”
Using the CG models constructed for the set extensions, Cinesite expanded the buildings out to a full grid of streets and residences. Adding in soldiers and other people was then necessary for the surveillance screens. At a pick-up shoot back at Bovingdon airfield, this time on the actual runway, a large 400 foot long bluescreen was laid on the ground, and a drone used to film action from 200 feet up in the air.
“We used this to film the equivalent of running down a street,” outlines Stanley-Clamp. “We had actually previs’d it with walk cycles that I had generated myself, but Alex said, ‘It’s got to be real people. Not mocap. You can tell they’re pixels, you can tell.’ For a day shoot, I got hours and hours and hours of footage, which I could never have generated in CG. Plus, I got whole platoons to walk down the street, not just individual people.”
The result was a collection of elements that brought some realistic-looking parallax to the surveillance screens, suggests Stanley-Clamp. “In fact, at one of the test screenings with some marines, the feedback from them was, ‘Where did you get hold of the footage? It’s so good.’ They thought it was real footage.”
For the actual look of the footage, Cinesite consulted with Mendoza on whether it took on an infrared, ultraviolet or ‘heat seek’ look, the latter of which is what they settled on. “Right up until very close to the end,” notes Stanley-Clamp, “I thought, ‘It’s not quite right.’ So we grunged it down and raised it back up. It was looking too clean. We had to remember this was set in 2016 and effectively the tech then is a little different. You can buy night-vision goggles now or shoot night vision with drones and the quality’s ridiculous. But we had to go back to the reference, although we found that it can be hard to find that old reference.”
Subtle effects
Warfare’s use of subtle visual effects extended also to weaponry. For shots requiring the Bradleys to fire from their central gun barrels, Cinesite provided a large muzzle flash and resulting smoke, timed to practical explosions rigged to buildings. Gunshots and muzzle flashes were also added to soldier firearms, along with accompanying CG bullet, phosphors and masonry hits.
Cinesite’s muzzle flashes related directly to the choice of camera. The film was shot largely on a DJI Ronin lightweight camerathat allowed for fast set-ups and being able to maneuver in small spaces. “We did some experiments and found that shooting at 30 fps gave us the best retention of muzzle flashes,” explains Stanley-Clamp. “You would not always see a muzzle flash go off, so sometimes we’ve enhanced a muzzle flash that’s in there or put additional ones in.”
“It was a bit different for something like tracer fire,” adds Stanley-Clamp. “You might think trace fire is there the whole time. It’s not. It’s about every fifth shell that goes off, that’s where you will get a tracer fire. Alex would be counting them. ‘No…no…now!’ That was a good learning curve.”
The post How an airfield in the UK was turned into the Iraqi city of Ramadi for Alex Garland’s ‘Warfare’ appeared first on befores & afters.
#how #airfield #was #turned #into
·104 Visualizações
