World War II from Space: A bird’s eye view of World War II History

by steven schwartzLeave a Comment

This article from Pro Video Coalition reveals how the Adobe Creative Cloud was used to animate an outer space POV for the documentary feature, “World War II from Space.”

Telling the story from Pearl Harbor to the atomic bomb, the creators used the Adobe CC suite and Baselight to make this 90-minute film. The creative team sits down with Adobe to chat about how they made this stunningly visual film for the History Channel.

World War II from Space: The Documentary

World War II from Space, a program commissioned by HISTORY, is a stunning 90-minute documentary visualizing key events from World War II from the vantage point of space. This was a huge creative endeavor with 300 animations and 79 VFX shots—all completed over the course of one and a half years by U.K. production company October Films and visual effects studio Prime Focus. Simon George wrote and directed the film, while Prime Focus created the VFX, led by Design and Animation Director Hazel Baird, and Creative Director Simon Clarke. We had a chance to sit down with George, Baird, and Clarke to discuss how the video tools in Adobe Creative Cloud, allowed them to create their own bird's eye view.

Adobe: Can you tell us a little more about what makes World War II from Space special?
George: We were recounting the battles and shifting tides of the war from a bird’s eye view, so there was enormous reliance on animations and VFX to tell the story. We had to rely on globe-spanning maps and highly detailed computer animations to recreate events from Pearl Harbor to the atomic bomb. We wanted to create a new style that would be relevant for all ages and that would be visceral, informative and visually stunning.

Pop Culture Lens

Pop Culture Lens

Adobe: How was the film finished?
Baird: The initial coloring we did for most of the animations in After Effects didn't change much. We then brought all the shots into Premiere Pro and made any last tweaks. After that, we did a three-day color grade in Baselight to balance everything out and create a slightly darker grown up feel. We finished 80 shots that required a ton of motion tracking in eight months. We had a lot of image volume to work through. It was a little grueling, with long days and late nights, but it was also very rewarding.

Real Globe Lens

Real Globe Lens

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[ Via Pro Video Coalition ]

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(cover photo credit: snap from Pro Video Coalition)

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