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The crew captures footage at sea
A multifaceted visual effect
Moss grows on a landscape of hardened lava
“Paul Atkins is a terrific DP and
brought a depth of knowledge about
places where you could find spe-
cific landscapes, flora, and fauna,”
remarks Glass. “Additionally, his
familiarity with IMAX framing and
his understanding of Terry’s aes-
thetic for wide lensing and being ‘in
the scrum’ truly serve the experien-
tial aspect of the film.”
The film’s live-action plates
were digitally altered. “Selecting
visual effects vendors and contribu-
tors was a careful process of finding
artisans who brought a sensibility
as well as sensitivity to the project.
Several were collaborators we had
worked with before, but many were
new and generally chosen because
some earlier work of theirs spoke
to a certain chord or visual in the
picture.” Glass adds, “With many
vendors came many solutions and
a similarly wide range of software
solutions, ranging from Maya to
Houdini, Nuke to After Effects, and
from there to the highly proprietary.
Rendering at 6K requires signifi-
cantly more computational power
and storage capacity, which was cer-
tainly a challenge. In a few cases, we
were fortunate to have the resource
of massive supercomputers avail-
able at key scientific institutions
that we were collaborating with.”
“There was always an intent to
keep the material feeling as if from
a different hand, originating from
different camera systems, almost,”
