Issue link: https://digital.copcomm.com/i/1475973
www.postmagazine.com 8 POST JULY/AUG 2022 CSSMUSIC.com SIMPLY BETTER! FILM & TV MUSIC Better License - Better Value NEEDLE DROP•ROYALTY FREE•GRATIS! NEW! SUPER BLANKET ™ • More Power • More Flexibility 800-468-6874 Post-CSS-4-2022.qrk_Layout 1 4/8/22 1:07 PM Page 1 BREAK+ENTER DELIVERS VFX FOR NETFLIX'S RUSSIAN DOLL NEW YORK CITY — Break+Enter (www.breakenter.io) served as a key visual effects provider for the second season of Russian Doll. The Emmy Award- winning Netflix series stars Natasha Lyonne, who is also a co-creator, along with Leslye Headland and Amy Poehler. The studio delivered nearly 150 visual effects shots for the eight-episode second season. VFX supervisor Gabe Regentin led the Break+Enter team, which worked with Lyonne, her production team, cinematographer Ula Pontikos and LED lighting specialist 4Wall Entertainment to recreate a large portion of the New York subway system using virtual production technology. "Gabe and his team made a sweeping contribution to this season of Russian Doll," says Lyonne. "His endless creativity, obsession with precision and meticu- lous eye for detail made for a very special and inspired collaboration." Russian Doll's second season is set four years after the events of its 2019 debut, where Lyonne's character, Nadia Vulvokov, is caught in a time-loop that causes her to repeatedly relive the day of her death in a traffic accident. The new episodes take the story in a different time-bending direction, as Nadia finds herself moving through time and space in a subway car. It uses that premise as a springboard to continue exploring existential thematics through an often humorous and sci-fi lens. Although subway travel occurs frequently in Season 2, shooting on an actual operating subway train proved impractical. Live trains would have been hugely expensive and hard to control, notes Pontikos. "We knew we needed to build a stage and explored green-screen options, but ultimately rejected them. In the end, we pitched the idea of using a carriage on a platform and surrounding it with large LED screens." Actors would sit or stand inside the car as animated, CG backgrounds were displayed on LED panels outside the windows to simulate motion. Break+Enter was tasked with creating that background imagery. Artists built photoreal 3D replicas of the New York subway system, including stations and tunnels. "Break+Enter worked with the show's art department in developing the CG assets," Pontikos notes. "They went through trial and error to get the height right, determine the correct color space and work out other details." External shots, outside the train, were also needed, so CG models had to be both highly realistic and easy to control. "We built the tunnel system in a procedural way," says Regentin. "That allowed us to generate platforms and tunnel segments on the fly as needed. We created the environment in full 360 so that it could be projected onto the LED volume from any angle. Everywhere you looked, you felt like you were in a subway tunnel." The subway set was built on a stage in Brooklyn. New Jersey-based 4Wall Entertainment designed and built the LED walls, and the Disguise playback BITS & PIECES system was used to display the pre-rendered CG backgrounds. "We finished the CG tunnel about a month before the shoot and spent two weeks testing the system," Regentin recalls. "Everything had to line up, includ- ing the lighting and the color. We also experimented with different rendering speeds to make the animation feel correct with the proper amount of motion blur. There were all kinds of variables." The careful preparation paid off. "On production day, I sat with an iPad next to the techs, who were driving the video sequence, and gave them direction. It worked so well, we were able to shoot normally," Pontikos recalls. "It was just a matter of getting the expo- sure right and ensuring that the speed was correct. We also had to make sure the direction of the train was right and the timing of its arrival in the station was correct. In the end, it felt perfectly real." Series director/executive producer Alex Buono says the experience was very organic for the actors. "It's a lot to ask of actors to be 'in the moment' when they are on a green- screen stage, surrounded by fake surfaces, but inside this LED world, it was easy for them to believe they were in a moving car." Break+Enter also created numerous invisible effects for scenes set in the past. The series includes a subplot set in subterranean sections of Cold War Berlin that were shot in Budapest, site of continental Europe's oldest electrified underground railway system. Artists altered signage, removed modern features and performed other detailed work to make the environment look like under- ground parts of the former East German capital. Regentin was on the set both in New York and Budapest, overseeing the execution of visual effects shots. "We shot for a month in Budapest and got into some amazing locations you wouldn't find anywhere else," he recalls. "We were in tunnels deep below the ground and in cisterns with water up to our waists. In post, we used visual effects to heighten the unique aesthetics of those locations, adding lighting to give them an otherworldly feel."