In addition to the graphics, the VFX work covered a wide range of material, including crowd augmentation, rig removals, screen inserts, cleanups and matte painting. ![]() “We felt that the super-compressed, jagged aesthetic that had evolved through our R&D was incredibly powerful, and we were really pleased when it became apparent that Jamie didn’t want us to ‘clean it up’ for the final 4K versions we retained a really raw feeling to the work.” “Although The Red Bunker was worked up to an almost photoreal level, we had full control of how much we could ‘break’ it,” says CD Lunney. It retained a super-stylized look, something the team was particularly pleased with. The Red Bunker was created in Unreal Engine as a real-time environment, which then served as final pixel VFX for a number of shots in the movie. These moments take the form of two “trailers,” advertising Robey’s big moment - the grand finale - broadcast live from the real-world Red Bunker location. The Red Bunker appears in two key moments in the film, so the NViz graphics team - led by creative director Chris Lunney, real-time supervisor Eolan Power and graphics supervisor Ian Sargent - worked with Payne and Wright to splice together R&D explorations of the Red Bunker environments with fragments of the film’s “real-world” horror - footage of Robey’s victims and his heinous crimes. Using references such as seaside peepshows, online snuff videos and the infamous dark web game Sad Satan, NViz created an immersive real-time environment in Unreal Engine to showcase Robey’s dark world.ĭesigned to entice, excite and disorient, the content of the website reflects the real-world horrors committed by Robey in the film, with digital recreations of his crimes existing within a series of endless corridors, traps and cells. This included building the “Victim Farm” sequence, which depicts how Robey “haunts” the internet in search of his victims, and “The Red Bunker,” an immersive website used to draw in an unsuspecting audience, promising illicit, extreme pleasures in return for payment. One of the main focuses of this work related to conveying Robey’s techniques and motives in a clear and impactful way. In post, NViz provided VFX and graphics for almost 200 shots, working closely with Payne, Kasmir and editor Justine Wright to reinforce key storytelling throughout the movie. Much of this planning took place at Shepperton Studios with Unreal supervisor Georg Engebakken, who worked closely with Payne, Kasmir and second unit director Wolfgang Stegemann throughout the process. It’s a grim scene that required meticulous planning to pull off on the day. The plot leads to a complicated scene set in a busy London landmark, Piccadilly Circus, and involves action choreographed between the ground and several rooftops. In the movie a sinister serial killer, Robey (Andy Serkis), has used the dark web to target several individuals on the verge of ending their lives. ![]() ![]() The NViz team worked closely with the film’s director, Jamie Payne, and with the film’s overall VFX supervisor, Matt Kasmir. Initially, filmmakers drafted NViz to provide previz to help plan two major sequences for the movie: a high-suspense scene set on the ground and rooftops of Piccadilly Circus and the final showdown in Iceland. Elba has himself referenced how he welcomes the larger budget the film has in comparison to the series, and these high production values are clearly visible in the expanded locations, complex action sequences and excellent use of visual effects. Acclaimed British crime drama Luther had its series finale in 2019, but Netflix has brought it and its star, Idris Elba, back for a new film Luther: The Fallen Sun, focusing on the detective who doesn’t always follow the rules.
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