For the opening title sequence we follow a military helicopter launching an attack on a desert palace through one long continuous take. Previs was used to work out the camera move which culminates in a track over a courtyard moving inside one of the palace windows to blend seamlessly with the following scene. The timing was crucial in ensuring each beat coincided with the action and the integration of animated titles throughout the shot.
The Halo Parachute Jump sequence features new agent recruits tasked with skydiving out of a plane to a targeted landing platform. Real halo footage was referenced to create the compelling sequence with the realism of free-falling through thin air from 29,000 ft. Maya’s fluid system was used to create realistic volumetric clouds; a tool used to strengthen the feeling of falling as wisps of clouds ripped past the camera to accentuate speed, parallax and scale to the shots. As the parachutists approach the ground, long camera lenses were chosen to increase the speed and climatic tension in the frame.
Roxy in Space sequence was similar to the Halo Parachute Jump but in reverse! To help foil the villainous Valentine’s plan one of our hero recruits is lifted by giant helium balloons up into space to destroy a satellite. Previz was used to map out the shots to create a thrilling but terrifying journey up through the atmosphere.
The director Matthew Vaughan wanted a dramatic but fun entrance for Valentine’s bodyguard Gazelle - Previs was used to evaluate the staging of the two characters whereby we see Lancelot’s body peel in half revealing Gazelle and her lethal running blade legs.
NVIZ continued to work closely with the Production throughout the shoot, helping with the design and implementation of Gazelle's blade legs on-set to ensure a smooth transition into Post. In addition to Gazelle's legs, we also completed many fixes and face-replacements.
Kingsman: The Secret Service on IMDB.