'On war films you usually want bigger, louder, more and more, but here the goal was the opposite: to be invisible to the audience.'
, with its digitally constructed “one shot” concept, or Christopher Nolan’s, with its separate color and sound palates for battles on land, sea and air, in favor of a more classic and realistic approach. From the costumes to the makeup, from visual effects to sound design, the goal was to be as realistic as possible and underscore the movie’s anti-war and deliberately un-heroic depiction of an ordinary soldier in battle.
Staying away from “crazy technology” as much as possible, Petzold and his team focused on in-camera effects for the bulk of VFX shots in the film. “Everybody has a 3D rat model somewhere on their hard drive,” says Petzold, “but the philosophy was always: make it real. There are a lot of little things but they add up. If you notice, the cutting pace in this film is quite slow. It’s almost like a spaghetti western, we spend a lot of time looking at individual shots. So for the VFX people, it was great, because people can actually look at our stuff, see all those little details.
Every actor playing a soldier got a dentist appointment, where they got imprints of their teeth. Using so-called “invisible line” dentures, which she painted in tones of yellow and brown, Merker was able to recreate a time before modern dentistry.
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