Can Feda Bangla Subtitle
Can Feda - An image of war
The controversial war film, Can Feda, from director Çağatay Tosun, follows the story of a Turkish Air Force pilot and his dangerous incursion into enemy territory. The film is a realistic action thriller, which requires numerous visual effects to bring it to life. Much of MyL's work centers around an air assault and the final battle sequence on the ground. The project presented a significant workload to be achieved in a short period of time. As always, MyLaison is happy to rise to the challenge.
All locations were shot in western Turkey, but the story is set on the border between Syria and Turkey, which has a more arid landscape. A classic example of this is Airbase. To meet the brief, MyL removes trees and shrubs from the surrounding environment and replaces it with drier, more desert-like terrain. Additionally, it was shot on a real military base, so MyL was asked to remove many identifying markers for safety reasons.
When shooting at the base, the crew only had access to two planes, so MyL populated the hangars and lined the runways with additional CG planes. The plates were shot in different weather conditions, so MyL adjusted the sky to provide continuity with the dark, cloudy weather in which the scene was set.
Many of the airborne VFX shots were from inside the cockpit. The actor was shot in a studio against a blue screen in a hydraulic chair and everything else was done in CG. This included the ejection seat, the interior cockpit and the visible exterior of the plane. The internal reflections of the display panel and the domed glass were especially difficult to combine.
Other problems were presented by the hydraulic to motion, which provided some movement, but was too mechanical for cockpit motion. The MyL team smooths out the actor's motion to help it sit more realistically in the final shot. In addition, the pilot's visors were reflecting live-action studio conditions, which meant that replacing them with reflections of the cockpit and outside sky required painstaking clean-up and tracking. Conversely, there was no reflection inside the cockpit glass, so the team added reflections and pilot movement to combat this.
Other complications existed due to live action exterior aircraft shooting above clouds, meaning that some shots where the pilot and cockpit are seen with a cloudy gray sky in the background, had bright, sunny light on the pilot, requiring careful re-lighting. .
The flight sequence consisted of about 50 shots and was mostly entirely CG except for the actor's face and helmet. From initial cleaning to final render, the work was completed within a month.
Later, the plane drops bombs in enemy territory. For various reasons, the use of SFX explosions was limited. As a result, the crew on the ground was basically able to create dust explosions on set, which MyL later enhanced in CG. The team used CG fire elements to create the heart of the explosions and amplified their size and impact, adding dust, debris and smoke.
In a thrilling, tightly-cut turn of events, the plane malfunctions and begins a crash landing. Matte painting, CG airplane, pilot, ejection seat and parachute in shots made by MYL. The shot was further enhanced by CG fire and smoke that helped bring the elements together and match through the follow-on live-action cut.
order of battle
Another major sequence that MyL worked on for Can Feda was a long and gruesome battle scene. The director wanted the audience to feel as if they were in the middle of a battle, so MyL's brief was to heighten the intensity of the situation, deepen the sense of drama and danger, and add a sense of relentless brutality. It started with explosions and adding smoke and debris. Adding MyL's camera shake and cg debris to the camera lens added to the element's wickedness. However, due to consistency issues, the plates varied significantly in the amount of SFX smoke in situ. The MyL team, not only had to expand the smoke and debris, but match the continuity of the live action material from plate to plate.
A lot of complex work goes into the weapons that soldiers wield. Not surprisingly, weapons played a big role in this major battle sequence, however, the prop guns on set had no moving parts, so in addition to muzzle flashes and impact debris, the team had to create CG ammunition shells as they fell. Any close up of guns and gun tactics.
The battle location was completely different from the final version MyL. The shooting took place at a military training base with a harbor in the background. MyL's brief was to create a charred city razed to the ground by relentless fighting against a backdrop of hostile, mountainous countryside. While some buildings were present, MyL created matte paintings and set extensions to depict the horrific destruction called for in the script. Starting crew members, cameras etc. were cleared from the plate.
When combat action begins, MyL again creates muzzle flashes from weapons, rockets, multiple fire explosions and smoke flashes from debris and bullet impacts. Clean up was a key part of this sequence; To capture more action, some guns were fitted with portable cameras, so MyL removed them from many obvious shots, along with film-crew members and other inconsistencies in the story.
Battle sequences are a marathon of smoke, fire, explosions, debris, bullets, muzzle flashes, rocket launchers, tanks and subtle blood and gore effects. However, in the end, the film cuts to a happy sequence of children returning to their school after a year. MyL upgraded the damaged building from the training base set to build a newly constructed school.
Overall, the battle sequence was a massive body of work, covering over 100 shots, which required significant cleanup as well as VFX. A great deal of preliminary research was required to realistically simulate the effectiveness of Kalashnikov weapons, tank explosions, and mortar explosions.
The Can Feda project was both challenging and satisfying for the team to approach and the result is a highly realistic war film that vividly portrays the horrific nature of war.
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