Typically, weвЂ™d get in before crew call, look over the set for markers or green screen repairs, go over the scenes for the day, with our on set VFX team and ready our equipment. Whilst I was on-set for 5-months, Jeff Capagreco, VFX Supervisor, helped with asset development and set the foundations with BaseFX, Hybride & Ghost.Д¬an you describe a typical day during shooting and during the post? Ghost, supervised by Jacob Borsting, also helped with shots in the balloon takeoff sequence.Д«en Snow and I split the Singapore work, and Ben also supervised BaseFX while I managed the work from Animal Logic, Hybride, ILM San Francisco and Ghost. Animal Logic, supervised by Andy Brown, helped out with balloon shots over the city of Bianliang and ILM San Francisco, supervised by Hayden Landis, helped with shots approaching Bianliang. We established the Wall and the вЂњenvironment lookвЂќ and shared these massive assets with BaseFX in Beijing, supervised by Jay Mehta and Hybride in Montreal, supervised by Joseph Kasparian. ILM Singapore did most of shots involving Tao Tei animation and creature crowd work. We split the work based on types of shots across the various sequences between ILM Singapore and our vendor partners. How did you organize the work amongst the ILM offices and vendors? The entire crew on set was great and very co-operative knowing what a challenging job lay ahead for VFX. We kept our footprint to a minimal but also tried to make sure we got what we needed. If Phil and I felt we needed to fix it, weвЂ™d discuss with Stuart Dryburgh (DP) and ZY and get it sorted. The Wall set, could fit about 500 extras in costume and it was usually when the cameras went up, weвЂ™d realize, we needed more green screen on the ground or objects like crane arms with lights, were visible in frame between actors and the container green screen. It was an all outdoors, massive green screen setup and we faced all the challenges of being exposed to the the elements, one would expect. There were also 5-6 heavy excavators with 30Г—20 foot green screens that could be driven and moved around to help cover areas. Around the Wall set we had shipping containers stacked 3 high, onto which green screen was draped. Our main вЂњWallвЂќ set, named вЂњlow wallвЂќ, was built on the Wanda Studios backlot in Qingdao and was a 100 meter section of the top part of the wall.

Most action sequences were pre and postvizвЂ™d by The Third Floor to help support the shoot, the story and editorial cut. Zhang was clear he was making a fantasy film with monsters and heroes, a Chinese legend set in a world filled with elements of old Chinese culture, surrounded by elite warriors, beautiful landscapes and bloodthirsty monsters. What was their approach to the visual effects?

Overall, the process was very collaborative and both Phil and Zhang were always open to ideas and suggestions. Being 15 hours ahead in Singapore, we would send material our end of day and have daily cineSync reviews the following mornings with Phil, who, would have reviewed the shots with Zhang and gotten his feedback. After principal photography wrapped in China, director Zhang Yimou and Phil Brennan were based in LA for post. Earning his trust and helping him realize his vision was our goal. Since he is most comfortable conversing in Mandarin, all conversations went through his translator but often, his animated style needed no translation. It was an honor to work with him, he loves epic scale and saturated colors. Zhang Yimou is incredibly visual and creative. How was the collaboration with director Zhang Yimou and the studio-side VFX Supervisor Phil Brennan? This followed rounds of bidding and conversations around methodology given the extent of VFX work in the movie. ILM was contacted by Legendary in early 2014 regarding the project and I met Zhang Yimou at Legendary Studios, in LA, later that year. How did you and ILM get involved on this show? In a recent interview with Art of VFX, ILMвЂ™s VFX Supervisor Samir Hoon talked about meeting the challenges of the production and how communication worked between the various vendors spread across the world. The Great Wall, an epic new film from celebrated Chinese director Zhang Yimou, has a very ambitious visual style and massive scale, both on set and in post.

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