The amount of Chroma key shots in the film is rather significant. And the final speech by Lyudmila Pavlichenko in Chicago is fully made on matpaints, the drawn backgrounds. These are not 3D images; actually, these are regular but very complicated pictures with a lot of detail brought to life at the final stage of works. They are absolutely credible in physical and geometrical sense; the perspective and angles are also right. I hope the audience gets the impression that it is a real city.
In “Battle for Sevastopol”, a big block is dedicated to the 3D work: 3D models are prepared with assets, which are scripts with basic physical simulation of certain process. For example, a plane flies and shoots, we see a trace and the flashes of explosions – and two different assets are responsible for that. If the plane’s exhaust is visible in the shot, the asset for exhaust fumes is included, and so on. Then, when all elements are ready, they are loaded into one scene and we activate what is needed.