{"id":9812,"date":"2015-01-21T20:48:28","date_gmt":"2015-01-21T20:48:28","guid":{"rendered":"http:\/\/www.firedbydesign.com\/?p=9812"},"modified":"2015-01-21T20:51:34","modified_gmt":"2015-01-21T20:51:34","slug":"lipsync-reveals-secrets-behind-world-wolf-hall","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=9812","title":{"rendered":"LipSync reveals secrets behind world of Wolf Hall"},"content":{"rendered":"
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The highly anticipated 6x60min drama adaptation of Hilary Mantel\u2019s multi-award-winning novels\u00a0Wolf Hall<\/em>\u00a0and\u00a0Bring Up The Bodies<\/em> is scheduled to start its UK broadcasting run tonight on BBC TWO.<\/dt>\n
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LipSync completed full post on Wolf Hall with the post facility providing audio, VFX, grading, titles and all deliverables for the Company Pictures and Playground Entertainment co-production for BBC Two and Masterpiece, in association with BBC Worldwide.<\/dt>\n
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Key sequences realised by LipSync\u2019s VFX team include the world of Tudor London around Austin Friars (Cromwell\u2019s home) and the Thames around London Bridge.<\/dt>\n
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VFX Supervisor George Zwier collaborated with director Peter Kosminsky and the key production team from the beginning of production, leading to a high level of authentic detail\u00a0 in the seamless VFX work.<\/dt>\n
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Other key sequences include the creation of the Tower of London as seen from inside Traitor’s Gate, and the coronation of Anne Boleyn. \u201cWe worked on all six episodes and the total shot count was 134,\u201d said George Zwier.<\/dt>\n
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\u201cApart from its period setting, Tudor England during the reign of Henry VIII, another challenge was the handheld camera work favoured by director Peter Kosminsky and DoP Gavin Finney,\u201d recalled\u00a0 Zwier. \u201cPeter did not want to go down the classic TV route of cutting to a matte painting as a setting establisher before going into the action. Rather, he wanted a natural flow to the narrative which let the story inform the viewer of the setting.\u201d<\/dt>\n
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This presented a number of challenges to the LipSync VFX team.<\/dt>\n
\u201cNot only were we having to remove modern detail and insert period detail, but all of this was on constantly moving plates,\u201d explained Zweir. \u201cAn early dialogue with the DoP and Production designer, Pat Campbell, led to an understanding where Pat and her team would do what they could do remove modern detail, like light and power switches, on anything up to head height in frame, and we would assist with the rest. Gavin would also do as much as possible within limits by framing out difficult areas like modern chandeliers. Needless to say, this wasn’t always possible so a team of matchmoving and prep artists set about the task of cleanup in Nuke.\u201d<\/dt>\n
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Despite the amount of modern clean up, the biggest sequences were the creation of Austin Friars, Cromwell’s home in what was then the northern border of London (near modern day Liverpool St station).<\/dt>\n
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\u201cWe set about the task by creating a ‘village’ of nine unique Tudor buildings in a loose 3 x 3 grid in Maya,\u201d Zweir revealed. \u201cWe then copied that base village, turned it around 90 degrees each time and placed them to form larger collections of buildings. The textures were kept simple as they were to serve solely as placeholders for layout purposes. After Peter signed off on the layout, a single frame of the solved camera was then rendered with Arnold.”This served as the base for the matte painting where high res textures were applied in Photoshop before being re-projected onto the geometry in Nuke.”This approach was the most expedient for what turned into fairly dense scenes. Where a new camera angle revealed previously hidden detail we could quickly repurpose large sections of matte painting work from the master setup and fill in the small missing sections per shot. By keeping the shots live in Nuke we could quickly add, remove or shift buildings, smoke, trees as requested.\u201d<\/dt>\n
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Continue Reading<\/a><\/dt>\n
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The biggest single shot in the show is the creation of London Bridge. George Zwier explained that Peter Kosminsky was concerned that the show’s budget wouldn’t allow for the creation of this and was willing to opt for something simpler.<\/dt>\n
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However as both Kosminsky and Zweir loved the representation of London Bridge in the film Anonymous<\/i> it turned out that<\/dt>\n
they were both very keen to see this realised in Wolf Hall.<\/dt>\n
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\u201cThis presented a challenge as this wasn’t something accounted for at the start of production,\u201d said Zweir.\u00a0\u201c\u00a0However, after the success of our approach with Austin Friars I was confident of being able to achieve this. A lot of material was provided by the art department which showed various different ideas of how London Bridge looked, so we chose one painting that provided the most interesting detail with the assets we could draw upon internally.\u201d<\/dt>\n
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\u201cAs with Austin Friars, we applied the same modular approach using the existing building assets and built up higher and denser buildings along the shore and on the bridge,\u201d continued Zwier. \u201cA cathedral built for Austin Friars was switched 180 degrees and re-used in the background. The bridge itself was built very simply then festooned with lots of small details like chains and flapping material.\u201d<\/dt>\n
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\u201cFootage of the water was used from our library of existing river plates, which happened to fit the scene perfectly, negating the need to film down on the Thames. Moving people were kept distant as they were also used from our library of walking people but not necessarily period appropriate as the budget also didn’t allow for an elements shoot or CG crowds.”<\/dt>\n
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“River traffic was taken from other shots in the show of water craft on the River Severn as well as from our library. The subtle camera move was captured and reapplied to the re-projected scene in Nuke keeping the shot dynamic. The shot is a classic case of building something from nothing, as the only element provided was that of actor Mark Rylance against a bluescreen.\u201d<\/dt>\n
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Zweir added: \u201cWhilst its always nice having a large budget to play with it’s often those constraints that lead to finding cleverer ways of giving smaller productions a big production feel.\u201d<\/dt>\n
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LipSync also created the title sequence, which has been used as the basis for cover artwork on the new editions of the books to accompany the series.<\/dt>\n
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Rob Hughes, Re-recording Mixer, said the aim for the sound design was to create a detailed and involving environment that supports and reflects the subtleties of the performances. \u201cAny period drama presents its own set of challenges,\u201d he added. \u201cThe need for authenticity is paramount in enveloping the viewer in our world, and we feel we’ve added an extra level of life with our mix, accompanied by Debbie Wiseman’s beautiful score.”<\/dt>\n
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LipSync previously worked with Company Pictures on the second series of The Village, and with Playground Entertainment on the BAFTA-winning series Dancing on the Edge.<\/dt>\n
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\u201cWe were delighted to work with Company Pictures and Playground Entertainment again, particularly on such a prestigious project,\u201d said Beverley Horne, Head of TV, LipSync Post. \u201cThe novels have made an enormous cultural impact, so it was important to everyone involved to remain faithful to the books and this period of history, and we are very proud of our contribution.\u201d<\/dt>\n<\/dl>\n

Visit LipSync<\/a><\/p>\n

View more work by LipSync on Fired By Design<\/a><\/p>\n

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LipSync completed full post on BBC TWO’s Wolf Hall with the facility providing audio, VFX, grading, titles and all deliverables<\/p>\n","protected":false},"author":129,"featured_media":9814,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[102,223,68],"tags":[1670,42,2545,2924,1491,63,205,2923],"class_list":["post-9812","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-techniques","category-postproduction","category-vfx-projects","tag-audio","tag-grading","tag-lipsync","tag-peter-kosminsky","tag-post","tag-titles","tag-vfx","tag-wolf-hall"],"yoast_head":"\nLipSync reveals secrets behind world of Wolf Hall - Fired By Design<\/title>\n<meta name=\"description\" content=\"LipSync completed full post on BBC TWO's Wolf Hall with the facility providing audio, VFX, grading, titles and all deliverables\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/firedbydesign.com\/?p=9812\" \/>\n<link rel=\"next\" href=\"https:\/\/firedbydesign.com\/?p=9812&page=2\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"LipSync reveals secrets behind world of Wolf Hall - 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