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Craig Mazin, co-creator, executive producer, writer and director of HBO smash last survivor, saying there is still “quite a lot of story to tell” in the video game adaptation. “Our plan is not just to do one more season,” he said. “We should stay a while.”
An hour-long panel on the post-apocalyptic drama at NAB in Las Vegas on Sunday didn’t offer much teaser about Season 2, other than a status report that it’s still in the script stage and that it will be in British Columbia. Provincial shooting. Instead, Mazin and the four key members of the production team delved into the crafting elements of the first season, particularly visual effects, cinematography, editing and sound.
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With physics, prosthetics, and visuals merging, Mazin recalls the debut of “Clicker” in Episode 2 starting to “fight” the question, “Is this real, or an effect?” he replied dryly, ” The answer is yes.”
There were over 3,000 f/x shots this season, with motion capture work done by Weta Digital. Even so, VFX supervisor Alex Wang said that the crew’s goal is not to rely too much on all-digital creation, but to think about enhancement. “The first question we all ask is not what visual effects can do, but what can we get in frame and actually do? The conversation goes from there. That means visual effects and art departments, prosthetics, stunts and visual effects really close collaboration between them.”
Mazin and supervising sound editor Michael J. Benavente also spent some time detailing the sound of clickers, an iconic element in video games.Voice actors Misty Lee and Phillip Kovats, with last survivor Games, reimagining their work as clickers in the HBO series. “They basically gave us a toolkit of all kinds of different sounds that we could pull from,” says Benavente, but they were mixed with other elements, including a performer familiar to the crew — Mazin.Lent his voice to the choir, so to speak, to the co-creator last survivor The first-hand perspective of sound can affect the overall aesthetic experience. Despite all the studio tricks, “it came down to figuring out this very organic way of thinking about congestion.” For inspiration, the team listened to people with asthma and many other respiratory and medical conditions, he added. people’s opinions.
Benavente said the show’s virus-infected character “isn’t a monster.” “We were a little weird at first, and then we backed off. These are people who are infected and diseased.”
Sound plays a key role in Episode 7, which sets a lengthy flashback in the video arcade of an abandoned shopping mall. The segment revolves around a budding romance between Ally (Bella Ramsay) and Riley (Storm Reed). In addition to the touches that enhance specific settings, such as the whoosh of coins falling into the console and the bass-heavy Mortal Kombat game lighting up, the arcade sequences feature important contributions from those responsible for the show’s visual elements. Cinematographer Ksenia Serena kept three cameras running in succession, a feat choreographed in a tight space, but also essential for editors Timothy Good and Emily Mendez, who were able to cross-cut from a sequence of shots .
“Making their performance as natural as possible is key,” Goode says. The footage from the multiple cameras “gives us a lot of possibilities. … We have the ability to make sure that if something happens that doesn’t happen in the other shoots, we will have the ability to incorporate it into the story.
Mendes, who also worked as a sound editor for the show, began production as an assistant editor but was later promoted to full editor. Goode explained that her point of view was very valuable because she was a huge fan of video games, and he still had never played them. Also, dealing with the slowly developing romantic aspects of Ellie and Riley’s relationship requires a certain level of sensitivity. “It’s a gay love story that we think has [Mendez], as a gay man, to make sure this story is true. …I knew I couldn’t tell the story as well as she could. “
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