Digital Make Over

Digital make-up FX

Further blurring the line between what is real and what is digital...

As we mentioned in our previous blog, we’re now working out how to best maximise the budget and resources  that we have, in order to be able to convey the original vision of the movie without sacrificing on quality.

An example of one area where we’ve had to think outside the box is the special make-up effects required for some of the key scenes in the movie, namely the post atomic bomb sequences.

While traditional make-up and prosthetics will be used in these scenes, the extent to which they will be utilised will obviously been restricted by the limited budget we have to work with, but determined to do the sequences justice, directors Ian and Dominic Higgins have decided that several of the special make-up effects will also be created digitally – that is, added to the actors in post-production.

Using sophisticated “tracking” software, the “digital prosthetics”, which will be created using a combination of digital painting techniques and 3D modelling, will be mapped to the faces of the actors after they have been filmed.

Digital make-up

An actress with "digital make-up" applied. The face is kept shadowy, but we see enough to grasp the horrors and devastation inflicted by "Fat Man".

Although we don’t, in any way, intend to be gratuitous with what we show, we are adamant about conveying the events we are depicting as authentically as possible, in order for audiences to greater appreciate what Dr. Nagai and all the other survivors of the atomic bombings went through. Only by doing so, can we really appreciate their pleas for “no more Hiroshima, no more Nagasaki”.

For more on this story and other glimpses of the artistic and technical development of the movie, visit the blog of Directors Ian and Dominic Higgins.

Warning: Due to the nature of the subject matter, some posts on this site  will contain graphic depictions of wounds and other images of war and destruction that some people may find disturbing.

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