Director Pablo Larrain wanted to focus on the characters of the story. By imagining long shots following our characters emotional journey throughout the episodes, our work on the Boo'ya Moon environment was there to be invisible, while supporting the emotional charge of the scenes.
The environment of the world we focused on is the “Pool”, where crowds come to heal from their death on Earth. It consists of a massive amphitheater made of ancient rocks and overtaken by otherworldly vegetation, flanked by a lighthouse looking over an infinite lake. It’s always dawn here, and the moon is always full, shining a red light on the environment.
The place needed to feel eerie and convey a sense of peace and awe.
Bad Robot / Apple TV +
Broadcast Tech Awards
Best VFX Project
The bulk of the work was to create the Full CG environment to extend plates shot in a big stage in New York, add crowds on the amphiteatre, and extend and/or replace the water pool from the set to create the infinite lake.
When the pandemic hit, the shoot was interrupted before they could shoot a single shot. During the following six months, we helped design the environment, and created a complete CG environment to help the director visualize the space and vastness of the amphitheater. We produced different scenarios that would allow the crew to shoot the sequence again, within the Covid constraints. Whilst we waited for shooting to begin again, we built all the components of the environment and the crowds.
We were involved in the show for around a year, but the bulk of the production spanned across five months. Around 100 artists and production teams were involved at the different stages of the project, across our London and Bangalore Studios.
Julien Bolbach, VFX Supervisor at MPC Episodic
Pauline Duvall, VFX Supervisor at Bad Robot