Mujahid Khalid Hussain. Chen Lily. Anonymous jYzQ David Martinez. Ashwyn Vinay. Ben Bracken. Roberto Padron Medros.
Himanshu Gaur. Terrado Angel. Angie Augustine. Paulo Costa Silva. April Lewis. Stefy Sheeba. Leslie Martinez. Ikhsan M. Ritz Anton Pacanan Lim. Popular en Diving. Henry James Nepomuceno. Harzal Akbar. David Colon. To begin work on such shots, the team's tracker would make sure the live action left and right eye images matched properly before the artists inserted the background extension in the right eye shot, which they used as their master.
When everything was complete the same work was applied to the left eye. Terrain Challenges David shot the helicopter footage for the forest flyover shown as the characters approach the caves at the start of the story. It hadn't been easy to capture, not least because getting the large, heavy rig into the helicopter proved a challenge.
Landing spots were so far from the shooting location that stopping between takes to adjust the rig or clean the lenses was impractical — any adjustment had to be done while flying.
David said, "One of the most challenging CG sequences illustrates what the director had underestimated — to tell this story, the audience had to see the environments in detail and comprehend their scope and size and consequently, many shots from various angles had to be created throughout the film.
This scene was at the vast cave entrance, as the characters abseil and parachute down to the interior below. A ledge was built for the actors to jump from, over a 40ft deep space.
The VFX team had to build the cave environment, the parachute, the parachutist, birds, falling water and light shining through it — all in CG, down to the bottom. Image Correction David, also a skilled compositor, had gained experience with stereo images from his work on the 3D 'Cane Toads' documentary the year before, and put considerable time into correcting some of the shots that had stereo issues, ranging from adjusting convergence to coping with water splashing up from the flooded sets onto the lenses.
As a result, the close up to mid-range underwater shots frequently needed convergence adjustment. It sometimes involved blowing up shots to compensate for loss of imagery after the shots have been shifted within the frame, left and right, to change the angle, but David managed to avoid this as much as possible by rebuilding the missing information from the available footage from both cameras, using Shake for the compositing.
Further shot correction tasks David carried out included removing 'floaters', objects that, only when viewed in 3D, would sit uncomfortably in stereo space between the actor and viewer, causing a distraction. Another issue was the huge amount of rushing water on set during the flooding scenes. If one lens was splashed with water, David could in most cases reconstruct the damaged image from the 'good' eye, rebuilding the frame with a blend of the two in relation to Z depth.
Ben Joss remarked on this problem as well and said a drop of water appearing on one lens is quite hard to cope with in stereo and very obvious on the monitor. Very occasionally, he would need to create a 2D shot to insert into the rest of the footage.
Also the headlamps the actors were wearing tended to dominate shots in which the convergence had been changed, and David would have to reduce the detail in the lamps and adjust the shot.
Furthermore, while they read reasonably well in the live action footage, they weren't so successful against green screen and had to be removed and replaced with CG beams, ensuring they were shining in the correct direction to work stereoscopically as well. The effects team's VFX Supervisor Peter Webb explained that a sound understanding of how the brain perceives 3D and processes left and right images helped them decide how to best approach their shots.
Moreover, because a viewer's experience looking at a 2D image in a cinema is slightly different to observing the 3D world, understanding the theory behind achieving a good stereoscopic image was important. Spotting an opening out into the ocean, Josh surfaces outside, before crawling onto the nearby beach where there are people who can help him.
The film is based on true events, though most of it must be made up as in the real-life disaster no one actually died. Now down to only Frank and Josh, they discover — via a trail of actual shit excreted by bats — a cavern open to the skies, with a WW2 Japanese tank sitting in the middle, which fell in during the war! Josh is, presumably, the only survivor, though maybe Liz and JD made it out too.
A pair of forgettable characters who were nearly at the surface when the typhoon sent a torrent of water gushing into the caves, we never find out what happen to them. I like to think that nearly at the top, they turned a corner and found Sarah from The Descent , having a birthday party with her imagined daughter while awaiting death-by-blind-subterranean-humanoids.
Post-movie info: Sad to discover that the diving expert and stuntwoman Agnes Milowka, who doubled the actress playing Judes in her drowning scene, herself died a few months later while caving in the same system.
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