SOUDAIN

VFX SUPERVISION
CGI
COMPOSITING
CLEANUP

The VFX work accompanied the film from early preparation through production and post-production, including shot studies, the preparation of specific sequences with the stunt team, and several days of on-set supervision.

Post-production covered nearly one hundred shots, including cleanup, stabilization, invisible effects and atmospheric work such as rain, fog, clouds and sky replacements.

One of the main challenges was the duration of the shots, with several long takes approaching five minutes. Every intervention had to remain almost imperceptible in order to preserve the film’s naturalism, fragility and deeply human quality.

Working with Ryūsuke Hamaguchi was a particularly memorable experience, both for his involvement at every stage and for the precision and consideration he brings to the collaborative process.

The shot was planned in advance with the director and stunt team to safely stage the actor’s fall, using crash mats and protective elements designed to be removed in post-production.

The scene was shot in two passes: a background plate with the extras and safety elements, followed by a blue screen plate with the actor in the wheelchair.

Post-production combined keying, rotoscoping, cleanup and compositing to seamlessly reconstruct the final shot.

For this dialogue shot filmed along the Seine, a barge was added in the distance to motivate the actresses’ eyeline and maintain continuity with the following shot.

Using photographs of a scale model as reference, a simple 3D model was built and integrated into the scene. The main challenge was reproducing the distinctive bokeh of the vintage spherical lens used during production: heavy defocus, highlight diffusion and subtle movement within the out-of-focus light sources.

The blur itself became the key integration tool, keeping the barge discreet and almost imperceptible while placing it naturally within the depth of the shot.

This series of shots required the addition or modification of atmospheric elements, including rain, sky replacements, fog and background haze.

The main challenge came from the length of the shots, with several extended takes requiring effects that remained stable, continuous and subtle enough to preserve the film’s naturalistic visual language.