Rescue team 85/31/2023 While Billington worked on debris and murkiness, Howard says he tried to get as much as possible in camera. Or if a diver was swimming along the tunnel and he hit his head, we would use that moment to simulate some dust and debris knocking off of that connection.” “When a diver’s flipper flips up in front of the camera, we went for something that would wash in front of the camera to give us something dramatic, trailing off the flipper. The questions Billington and the team faced were about where to use specific simulations. Billington says his biggest challenge was how to depict the movement of the water amid the story of what the divers went through to rescue the kids, and the part VFX would play. Production designer Molly Hughes built four 100 ft.-long water tanks in a warehouse in Australia. Says Howard, “I didn’t really understand what the challenge of shooting in the caves was going to mean, and I’ve done a lot of underwater work.”įrom the murkiness of the water to the atmosphere within the cave, Howard’s biggest challenge was the overall environment, but that was where Billington came in. A monsoon leaves the boys stranded until divers arrive and attempt to get them out of the cave, one person at a time. The film retells the incredible rescue effort of 12 boys and their soccer coach after they go exploring in Thailand’s Tham Luang cave.
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