The setup was simple: We had a two days blue screen / studio shoot in Prague. A Limited budget and also a limited time frame. We had a set built as a terrass and another set built as a giant bird nest together with some big blue screens.
Line Production down in Prague was done by Nikola Mohorita and Unit Sofa. Cameras used was an Alexa studio on a super techno as main camera, and then we also had the Syndicate Red Epic for plates and Bcam. Both using Hawk V-light anamorphic lenses. Björn Benckert, Syndicate Creative lead, got the lovely assignment to fly down to Prague and vfx supervise the shoot and also do the on set editing. Bellow are some BTS photos of the sets.
While shooting the Syndicate 3D department started to sculpture and rig the creatures for the film. Both an adult and five baby pterodactyls had to be made within a short time schedule and in some of the shots all the 6 dragons had to be i the same shot so there was quite a bit of animation curves to keep track of.
Here is a the first test render of the mother dragon, that later also had some hair added. Mattias Malmer, Lead 3D artist, where particularly proud of the texturing and the good use of the Syndicate Proprietary Subsurface Scattering render.
The whole post process was done in 4 weeks and Syndicate catered for the whole image processing chain from creating the 3D creatures, mattepaintings, compositing and grading. The film was carried trough post in 2048×768, 12 bit log. The composites and grade was done in the Syndicate Flame under Kodak print LUT’s .
Russian cyrillic broadcast edit:
Big thank you, goes to Bazelevs Films and their Producer Valeria Baburiba and Smuggler LA Director Filip Engstrom for having us. It was great pleasure working with you and the rest of the team.