The Tunnel: Vengeance

Synopsis

The emotionally charged finale of the critically acclaimed bilingual crime thriller The Tunnel reunites Stephen Dillane in his International Emmy award-winning role as Karl Roebuck with Clémence Poésy as Elise Wassermann, for the last outing of this beloved and unlikely Anglo-French partnership.

The Tunnel: Vengeance is set amidst post-Brexit hysteria, an escalating refugee crisis and the increasing threat of terror occasioned by disenfranchised, exiled souls on whom society has turned its back.

What the Flying Colour Company was asked to do

The Flying Colour Company (TFCC) was asked to complete all of the principal visual effects in this series. This comprised a total of 226 shots that included environment enhancement and extensions and multiple monitor and screen inserts.

We were also asked to provide for injury enhancements including the mutilation of a man’s body that had chunks of his torso and limbs removed. A swarm of 3D rats, wire removals, green screen replacements, muzzle flashes and plenty of general shot cleanups were also completed.

How we did it

TFCC worked closely with The Tunnel’s production team, including producer Toby Welch, to establish the look for key scenes in the series.

TFCC also supervised the shoot for many of the key sequences including a tense cliff edge scene. This required TFCC to create the cliff edge itself and the drop to the sea far below as well as treat the overall geography of the shots.

In the last episode, TFCC augmented a vehicle crash and again enhanced the geography to place the drama dangerously close to the cliff edge.

TFCC managing director Simon Wilkinson says: “For the cliff edge sequence, TFCC was required to convincingly set up a look for the scene that would feel as though the character was treacherously close to a cliff edge that was 100 metres above sea level. We were extremely pleased with the results and felt that this really helped to portray the danger and raise the tension in this climactic sequence.”

The majority of the VFX shots were completed using Autodesk Flame.