The Vast of Night

"Visual Effects supporting a sci-fi film with a unique narrative"

THE VAST OF NIGHT

In the first place, this was possible thanks to our director, Andrew Patterson, his vision, his confidence and his perfect timing to take contact with us. This is the way vfx WORKS!... starting from the beginning next to the production.

So, with an open-mind, he gathered not only our expertise but also the expertise of other areas like our great D.P. Miguel I. Littin-Menz who next to Art and Camera Department worked together to achieve what seemed impossible with the resources available.

We've developed a particular oner shot (as our company name refers), a one extended long take of four minutes and a half mixing three different locations working at 6K of resolution.

The camera transportation methods for this oner-shot were hand-held on gimbals, go-kart at ground level, crane rigs, four-truck to speed up and finally on foot again. Then we've achieved camera blending and digital stabilization through the use of cgi and vfx compositing techniques. We've done full CG shots creating cg environments as well as cg backgrounds for set extensions and cg elements on it. And of course, everything you'll see at the end of this wonderful film which is (SPOILER ALERT) the great UFO finali.

This was a smart and innovative use of visual effect to contribute with the look and the narrative style of this independent low budget film which become a success!.

VFX MAKING OF

Visual effects breakdown reel (how-to) of the vfx we have done in this independent sci-fo production. It comes with the Director's voice-off, Andrew Patterson, explaining how important was our work for him, for his first movie and for his career.

IMDB_

THE ONER-Shot !

Featuring One Tracking Long Shot of 4 and a half minutes at 6K of resolution!

AMAZON Studios released the full "oner-shot" we have created for the film "The Vast of Night" with our visual effects voice-off comments. Please, watch it below ...

This well known oner shot (as our company name refers) is a extended long take of four minutes and a half mixing three different locations working at 6K of resolution. Several camera transportation methods were used: hand-held camera on gimbals, go-kart at ground level, crane rigs, four-truck to speed up and finally on foot again. Then we've achieved camera blending and digital stabilization through the use of cgi and compositing techniques. Here you may enjoy the comparison video showing the raw camera footage against our final vfx oner-shot!.

THE UFOS-SCENES!

Featuring CG ufos designed from scratch!

The main idea was to mimic the retro style from the 50's ufos. One big mothership and one small scoutship.
Here you may enjoy the comparison video showing the raw camera footage against our final vfx shots including animatics/previz.

THE WOODS-SCENES!

Featuring Completely full CG environments to match the actual live action location.

The main idea was to show broken trees due to a previous UFO landing which recently took-off.
Here you may enjoy the comparison video showing the raw camera footage against our final vfx shots including animatics/previz.

PRESS

VARIETY

How that ONER Tracking Shot was achieved?
"Andrew -the director- first contacted me through our mutual friends, ONER Vfx’s creative collaborators Rodrigo Tomasso and Marcelo García ...

The issue was that we had to not only cover a lot of different surfaces, but we also had to negotiate these really narrow gaps and it needed to be fast, really fast, but in real-time and affordable. (...) all our tests were amazing. Celebrating with euphoria, we hugged like kids."

D.P. Interview by Jazz Tangcay - Jun 1, 2020

I got (...) a killer vfx house, (...) a great VFX company. (...) my VFX guys, Rodrigo Tomasso and Marcelo García (...) a wonderful international group (...) from Buenos Aires, ONER Vfx. Very appropiate name for this movie.

Andrew Patterson (Director). Interview by Max Evry - Jun 8, 2020

Patterson was inspired by a nifty shot from 2009 Argentinian movie “The Secret in Their Eyes” he said, “which starts as a helicopter approaches a stadium, and then the shot drops into the stadium where we find the lead character in a melee of fans and follow him as he’s looking for the killer.

Patterson created four practical shots for a visual effects house to blend and stitch together, much like “1917.” “you can't see a cut !”, he said. “The effects change the geography, tighten up how our four shots played out in the real world when we filmed them. It was lot of work.”

Andre Patterson's Dazzling Debut. by Anne Thompson - Jun 1, 2020