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The task, then, was how to create a realistic London in which the two leads – a witch and a vampire – could realistically explore, without losing the scale and grandeur of the Elizabethan capital. “We had the nimbleness to be able to create these large-scale scenes, but they were complex – in one of the render logs we had around 23 trillion triangles.”Īxis was using SideFX’s Houdini to produce the shots, with much of the creative layout work done with the MASH plugin within Maya, from Autodesk, Arnold, also from Autodesk, featured as well.įinal effect: To build the wider city the team split London into various wards “When they came to us in the early stages, we were talking about large scale environments and effects work,” adds Gilbert. Read more: VFX: Making the Unreal into a reality.
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Recreating a full London cityscape of the past was no small process so the team had to take steps to ensure flexibility and not max out our internal render resource. With offices in London, Glasgow and Bristol, recent credits include HBO’s Catherine the Great, psychological crime drama Luther, and Serengeti. This lengthy schedule had to run along with other ongoing productions for Axis, which is a multi-award-winning studio which works across both VFX and animation. So, for us, we had to have a much smaller team than we would have liked for a lot longer.” VFX supervisor, Grant Hewlett explains: “I think one of the biggest challenges on the project is they had a really, really long production ship. The first season of the show, which is based on the All Souls Trilogy book trilogy by Deborah Harkness, aired in September 2018, with much of the work for this and season 2 filmed in Wales, on location, and at Pinewood Wales.įor VFX company Axis, which was brought on board by Bad Wolf and Sky Productions, the switch to an older version of London posed a particular challenge: How to recreate a realistic Elizabethan England with limited rendering capacity and a relatively small team.Ĭompounding some of the challenges was the length of the production, not to mention the interference of the Covid-19 pandemic that delayed productions worldwide.
Sky’s A Discovery of Witches sees the return of Teresa Palmer’s witch Diana Bishop and her partner, played by Matthew Goode, transported to 16th Century London as they look to escape from troubles in their own lives. Axis: Relied on historical diaries to build a realistic Elizabethan London
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