“The power of the scenario was great, and I thought that implementing it would be the key.” (VFX Supervisor Jeong Seong-jin) Admiral Yi Sun-shin’s diary and Kim Hoon , documentaries regarding Yi Sun-sin, and other video materials, etc. VFX Supervisors Jeong Seong-jin and Jeong Cheol-min referenced almost all the materials that might be found around them. “What I felt while watching the video material was that there were no works that properly showed the turtle ship, the scale of the Hakjin, and the way the battle was conducted through VFX. I was worried, but I thought that we should prepare well and implement it this time.” (VFX Supervisor Jeong Seong-jin) The post-production period was only one year. Nearly 1,000 people were deployed completed the picture of
Naval battles realized without sea shooting
He proceeded with the naval scene without launching a ship in the sea at all. “Some of them actually float and shoot and some work with VFX. When you already have one way. I took a completely different method to differentiate it from the previous work. digitally implemented The color of the sea is different and the actions of the soldiers are different.” (VFX Supervisor Jeong Seong-jin) The two supervisors who are known for expressing water was a big challenge. “There were movies that were shot without going out to sea, but this is a full-fledged naval battle that lasts for an hour, isn’t it? I was worried because it was a difficult water simulation and 100% set shooting, but anyway, I decided to go this way, so I trusted the simulators followingwards. We decided to make the most of our strengths and actively engage in digital work. After the middle of filming, there were a lot of boldly filmed and worked parts, telling them to go cool rather than cool.” (VFX Supervisor Jeong Chul-min)
A turtle ship that added perfection to perfection
There are two turtle ships. The new turtle ship has a different hull height from the old turtle ship, and the shortcomings of the old one are well compensated for. “There was an expression in the scenario that the hull of the new old ship (turtle ship) was lower. The old model felt like a tank and an armored car, and the new model felt like a sports car that moves with agility. I mightn’t miss the reality in the midst of it, so I kept talking and contemplating with the workers what kind of dividing point might be given while maintaining the strength of the two hulls.” In the turtle ship, the dragon’s head hangs on the front of the ship, not on the top of the ship, as is commonly known. “The turtle ship design doesn’t even have a blueprint. I had to put a lot of thought into it because it had to be created by combining various historical studies and interpretations.” (VFX Supervisor Jeong Seong-jin) “When the post-production work was up to 70%, I changed the design of the dragon head of the ship. It was a decision made because there was not a high level of satisfaction inside. The material and color were also changed to the last so that the dragon head of the turtle ship did not lose its dignity from any angle.” (VFX Supervisor Jeong Chul-min)
Solid weight and sense of speed, Panokseon and Antaekseon
The Panokseon of the Joseon army and the Antaekseon of the Japanese army in the movie also have several differences. “The Panokseon is a very heavy and solid ship. She is even more so because the wood is too thick and she carried artillery. Since the goal of Panokseon was to bring Japanese ships into the realm of Hakikjin while maintaining a reasonable distance from the Japanese ships, she designed it accordingly. On the other hand, Antaekseon, which is a Japanese ship, is light in weight and has a pointed bottom. Since it is a ship used on the battlefield, speed is important, and there is no need to make the ship heavy because only Japanese soldiers with rifles are on board, not cannons like the Panokseon. In accordance with that purpose, we also grabbed each concept. However, when I worked on Ahn Taek-sun regarding 40%, the design was too crude and there was a request to make it more powerful, so I had to redesign Ahn’s design even then. The new process was not easy, but for now, I think the result of changing the design is much better.” (Seongjin Jeong, Chulmin Jeong, VFX Supervisor)
A learned tactic, as clear as it is familiar
Although I learned conceptually regarding the tactics of Ikjin in history class, not many spectators will know in detail what process actually leads to final victory. “So, the goal was to show the interpretation step by step more accurately. It is important to produce a grand victory, but to that extent, the Joseon army had to show that it was a battle that perfectly defeated the Japanese army on the sea. The key was plausibility. Because there are so many Joseon and Japanese ships appearing and the progress is complicated, it was not easy to paint the whole picture by illuminating the individual locations of where this ship was and where that ship was. Although it is a complex designed battle, even if it is, we thought a lot regarding situations that might be shown as simple and fun as possible because there should not be a situation where only they were busy fighting and the audience might not keep up.” (VFX Supervisor Jeong Chul-min) The aerial shot was boldly chosen to show the exact location. Also, I used a lot of close-ups to show what kind of ship to watch.” (VFX Supervisor Jeong Seong-jin)