HBO Max Limited Series DMZ A world presents a world in which the second American civil war has torn the country in half, serving as a demarcated region between Manhattan Islands between the United States and America's solitude -free states.
created by Done by And sons of Anarchy Writer Roberto Patino and relaxed Bryan Wood and Riccardo Burchielie's Comic Book Series of the same name, DMZ Alma casts Rosario Dawson as “Zee” Ortga, an NYC drug that broke away from her son by emptying the island. After discovering her throughout the USA and FSA, she returns to DMZ to continue her discovery, only to be caught in another war between rival groups in an attempt to control the manhattan herself.
The four-episode series was known by filmmakers Awa Divurn and Ernest R. The Oscar nominated by Dickerson was starring Duneven (13th, When they see us) Direction of series Premier and Decorson (Bosch) Directing the remaining four episodes. To convert Manhattan into a war -torn middle ground in a new American Civil War, the series watched several visual impact studios, including FusfaxUnder the leadership of visual impact supervisor Brian KubovicDigital trends spoke to Kubovic on the series about their team's work and how they gave war-confined makeover to some of the most prestigious places in Manhattan.
Digital Trend: The series is like a film of about four hours. How many shots did your team work in all four episodes?
Brian Kubovic: Across all episodes, I think our shot count was probably in the 400 range. Between 350 and 400 shots.
This is certainly a feature-length shot count, even though the series does not necessarily look like a VFX-root project. What was the general vibe in the series, how will the visual effects be used?
World-building was the biggest thing. This story should feel intimate, but we also needed to build its scope, and you need to establish big moments where we are. As we made our way through pre-production in the pilot and then in the later shooting for the episode two through four, it was really clear that the city of New York, where the story is, was not the place we should shoot. This really hinders the creative vision to this, as everything in New York is constantly changing and developing, going left and right up with new buildings. Everything seems very new and polished. There are parts that still feel a little more worn, but in general, there is always a new construction.
So it ended filming in Atlanta?
Correct. There are opportunities to find buildings worn in Atlanta that are compatible with the story – as a basis for our story – but when you get bigger and wide, you can then tell the story with visual effects and expand the world. You can use visual effects to show what the manhattan can look during the evacuation in the second civil war, and even then. You may ask, “What does it look like when it takes a war and when nature takes it back?”
How did you decide that filming ends and what the visual effects handle?
Well, we asked “What is the story? What is the story we want to tell?” I lived in New York for 13 years, so I was familiar with a lot of real blocks or corners that they wanted to tell a story specifically. Roberto Patino had a very clear vision as to what it should be. He is also a new yorker, and he knew that he wanted to stay in that place all the time.
So in the case of Manhattan Bridge, for example, we knew where the story wanted to take. This is the place where separation is between DMZ and USA. So we went to a place in Atlanta and scouting the place. The production designer and director of photography had done a lot to find those moments and find the corners that could imitate some places in New York and to find out that we can practically do something practically to sell a specific corner and where we need to build in visual effects.
When you had specific architecture or landmarks you wanted to feature, how did it work with visual effects?
We went to New York as a team and really Lidar scan For example, Colond in Manhattan Bridge. For the surrounding buildings, we built CG versions of very specific corners, and then we had low assets of Manhattan that we would shift to space to help tell the story. The city is the reality, but the reality of the story is also and what is the grandeur in the frame. So taking some freedom to move things to feel like New York, even if there may be more buildings in the real place, sells scope to those who are not familiar with New York, and make it big. Most people know large sites, but they do not know what the Manhattan Bridge is, and will not know about Colonad. So it was about to balance what looks like New York, which is not familiar with it, and what is true for those who know this field.
You had some guidelines to take those places and they felt as if they had gone through a war?
It was about realizing that there were about taking existing structures, chewing them or dropping things down, and to take over growth and nature. This is really where we know all this. “DMZ-Infy” became the word we would use, also. We will be on the set and Atlanta will have a very clean, white wall, and they will look at me and I will go, “Yes, we're going to do DMZ-iF.” It is water stains, perhaps bullet holes, or sometimes a building knocks, but in most cases, it is vegetation. We used vegetation to represent the idea of these warning groups, these organisms, which we are, fighting each other, while the nature is simply taking back. It is a good duality that we are very flawed and nature will win finally.
Was there any element that was especially challenging to work?
The most challenging items for us were Chintown and Manhattan Bridge. We spent a lot of time in the window to those two things, as it was towards the end of the schedule in post-production. In our story, Wilson Lynn (Hoon Lee) and his crew locked themselves in Chintown. They have maintained their power grid, so it is naturally a different form than the rest of the DMZ. Chinatown is only one of the places where we can see the lights. This was a very interesting way for us to tell a story, and there is a large shot count, because the first floor in Atlanta was designed to look like Chintown, and then we increased it [with visual effects] For all those buildings. When you see the lower manhattan in the background, it gets black out and you can see a piece of a world trade center. This is really subtle, but this goods sells the idea that this crew has maintained its lifestyle and is very close, while in the distance, outside the walls, things have fallen into a post-epoclic world, essentially.
What about invisible visual effects? Is there any shot that will be surprised to learn with visual effects?
When you see the final Manhattan Bridge moment, the amount that was really practical was very, very small. A lot felt as if it could be in the camera, but most people were taking us shots [with visual effects]I am really proud of those shots because they have tried hard. Only for the end sequence in episodes four, we had a team of about 40 to complete those shots. And during all episodes, we had 80 separate members of the team, who worked in all four episodes.
Finally, I have to ask: what was to work with Ava Darrew? He is such a wonderful filmmaker.
We really had a close relationship and for this and through the production pilot and [episodes] Two through four with Ava Division. We have worked with him on many projects: Colin in Black and White And When they see usIt was very good to work with him again. She was in an episode, and she has such a strong creative eye. She always thinks of the next thing she wants to see – and this is what you want. You want those challenges. You want to be able to tell stories.
Roberto Petino is just unprecedented, and is just a great person [and] To work with a wonderful person. It was really great to spend time with him on set in two episodes through four. He is truly a great ally.
All four episodes of DMZ Now HBO is available on Max.
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