Cinesite Conjures Up VFX Clips and Details About ‘The Witcher’s’ Third Season

London-based vfx house Cinesite has released new images and details about the eye-popping vfx work its team delivered on the third season of Netflix’s The Witcher, which has garnered over 20 million viewing hours since its premiere on June 29.  Having been part of the BAFTA award-winning team from season 2, Cinesite was once more entrusted with creating some ambitious vfx on the series,  overseen by studio vfx supervisor Tim Crosbie and vfx producers Angie Wills and David Stephens.

Cinesite previously delivered the Kikimora, the first monster glimpsed in the opening shots of the first season, and the second season’s terrifying basilisks and Chernobog. So the team had a history of working closely with the production team to develop classic Witcher creatures. Cinesite VFX Supervisor Richard Reed notes, “We were earmarked early on to tackle the complex, multi-limbed Flesh Monster, as well as the crocodile-like Aeschna in Episode 4.  It was truly exciting and fulfilling to bring these creatures to life.”

Geralt encounters the Flesh Monster in the dungeons of Vuilpanne Castle, a horrific fusion of the torsos and limbs of women which moves crab-like in the darkness, attacking with multiple arms simultaneously. Cinesite’s team was closely involved in developing the look of the creature, which needed to fit seamlessly into the live action fight captured with three stunt performers fighting side by side.

Cinesite head of assets and vis development Maddie Scott-Spencer was integral to the process of conceiving the look of the Flesh Monster and its movement throughout the sequence. “We started with the initial brief of a creature composed of multiple human bodies fused into one and developed a series of Zbrush concepts. The challenge was to create a multiple limbed surrealist creature which would read clearly in motion and in the dark. We explored ways to create striking silhouettes, with such a complex creature shape in motion. We aimed for a design that would read as both horrifying and elegant in its proportions and form. As part of the design journey we incorporated a two stage posture where the Flesh Monster rears up into an upright pose revealing a towering, threatening display of arms, legs, and disturbing negative space. It was a great challenge which we addressed across multiple concept rounds, refining the design into the final sculpting and modeling phase.”

The Aeschna features in the fourth episode, jumping suddenly from the water onto the deck of the chain ferry.  Animating a large creature within the confined space of the chain ferry deck was a challenge our team rose to meet with careful choreography and clever animation. They created whole and tail-less versions of the monstrous amphibian, as well as its dismembered tail, which is ripped off by the ship’s gear mechanism. Details like sea-water drips, blood and drool were also added to enhance the creature’s terrifying impact.

Other impactful VFX created by the Cinesite team include the Ring of Fire, an entirely CG structure which hovers magnificently above the courtyard at Aretuza, where a conclave is taking place. When fighting breaks out it is destroyed spectacularly towards the end of the season, dripping like liquid napalm as it disintegrates and falls.

Destruction around this battle at Aretuza also includes a 30-second long-shot through an interior courtyard, among other interior battle shots. Richard Reed observes, “Cinesite was tasked with enhancing and developing Aretuza from previous seasons, so that we get to see some new hero views and ultimately, the destruction of a good portion of it.  I’m incredibly proud of the whole team’s work; everyone stepped up to the challenge.”

The final episodes of The Witcher’s third season were released on 28th July and are now streaming on Netflix. 

Watch the behind the scenes videos below:

 

 

 

 

You can read more about the vfx work here: