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In the process of filming, the picture operators used the following documents: storyboard, director's script, operator's table and tank battle scheme. The battle scheme contained the exact location of the tanks and the camera at different times, and the operator's table described what technique to use in what scenes. Such careful preparation allowed the team to work in winter conditions and with a short daylight. The directors wanted to use a minimum of 3D animation and take as many effects as possible on the camera.
The first experiments they conducted, moving primitive toy tanks the size of a matchbox on the sheets with the help of ropes. These experiments have shown that using reduced models of tanks will create the right level of realism. As a contractor for the creation of special effects, Scandinava studio, previously specializing in commercials and having no experience with large films, was chosen.
Specialists from Scandinava performed experiments on high-speed shooting and interested Druzhinin and Shalopu with his clip "Oil", in which a column of combustible liquid was rotating and ignited without the use of 3D animation. To work on the film, the studio expanded the staff from six to 28 people. To create personnel with tanks, studio specialists used the old technology of combined shooting-special effect. On the field, full-size wooden models of tanks, covered with green cloth, were used in the field, which the workers moved around the field on a sleigh.
Then the surveyors made measurements of the landscape, and Scandinava recreated the battlefield at a scale of in the studio and photographed all the scenes with detailed models of tanks, reduced by 16 times.
To create a winter atmosphere in the film snow, blizzard, the sky changing in the film's drama , the consequences of the attacks smoke, ash , and to amplify gun shots and some explosions, Scandinava decided not to use the traditional approach using CGI Computer-generated imagery, The letters "computer-generated images" , instead taking real natural effects on the camera. Shooting on the nature, tanks and natural effects were collected by layers on the computer in one single image.
This approach required a certain technique of filming. In order to move the toy tank were like moving the present, it was necessary to shoot it four times faster, and then slow down the received frames.
The camera, accordingly, had to be moved four times faster than on the field, which can not be done with hands. Therefore, in the pavilion shootings for camera control, the operators used the robotic arm KUKA Agilus, provided and programmed with the help of specialists from the Research Research Institute of Robotics.
For close-up shots, a full-size mock-up of the PzKpfw IV tank was built, the cabin of which was recreated on Lenfilm as a separate capsule on the springs, which made it possible to achieve realistic pitching during shooting. Currently, the layout is kept in the Museum of the Karelian isthmus in the Vyborg. The whole film was shot on the camera Arri Alexa English Russian, except for tanks, where because of the size required the apparatus of the company Red.
Optometry used a spherical lens Illumina of the St. Petersburg plant "LOMO" - according to the operator, this solution allowed to smooth out the effect of the "excessively high-quality" image, which is inherent in all modern cameras. Music Sound for the film was recorded and reduced to the technical base of the studio "Nevafilm".
Mikhail Kostylev, famous for his soundtracks for computer games, took up writing music for the film. According to the composer, he sought to convey a sense of pride in the Victory and the feat, creating an epic musical background in which the drama would remain. The leitmotif of most compositions is the theme "Eternal Flame", which Kostylev wrote at an early stage of the production of the film. The soundtrack was recorded after the presentation of the video, with the first score for all instruments was recorded using a MIDI editor.
This allowed the director to immediately appreciate the approximate sound of the music, its mood and tempo. Then, using a metronome, individual instrument parts, vocals, chorus and parts were recorded, in which a whole orchestra was involved. Choral parts are performed by vocalists of the Moscow Synodal Choir under the direction of the Honored Artist of Russia Aleksei Puzankov, instrumental musicians of the ensemble of soloists of the Academic Symphony Orchestra of the Philharmonic.
People that do that are filthy scum. The volume of the total ticket office for the first weekend was ,, rubles. According to the report of the Cinema Foundation, at the 48th week from 24 to 30 November , Russian cinemas were visited by 3. The fund reports that the percentage of morning and afternoon shows was at evening level. That is, the film attracted a wide audience - and the adult viewer, and schoolchildren with students. In total, up to November 30, 36, sessions were held in Russia, which were attended by , spectators.
The fees in Kazakhstan amounted to On December 26, the film became available for purchase in online stores, and on January 27, , it was released on DVD and Blu-ray.
By mid-January, box office fees amounted to about Critical reception Panfilov's 28 Men holds an aggregate score of 7. BBC News. Retrieved Let me hear you say LOC!
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