page_title: Panfilov's 28 Men
section_title: Filming
hierarchical_section_title: Panfilov's 28 Men / Filming
caption_attribution_description: English: 1:1 model of the tank PzKpfw IV during the shootings of the film Panfilov's 28 men. The green models have been replaced by 1:16 models during the post-production phase Русский: Модель танка PzKpfw IV в масштабе 1:1 для фильма 28 панфиловцев. На заднем плане - зеленые макеты танков, использовавшиеся при натурных съемках фильма. Впоследствие зеленые макеты были заменены на увеличенные модели танков в масштабе 1:16, снятые с помощью технологии комбинированных съемок.
context_page_description: Panfilov's 28 Men is a 2016 war film based on a Soviet propaganda legend about a group of soldiers – Panfilov's Twenty-Eight Guardsmen – heroically halting and destroying German tanks headed for Moscow. It is set in the Eastern Front of World War II and covers the 8th Guards Rifle Division operations during the 1941 Battle of Moscow. On DVD, it is also known as Battle for Moscow.
  The film is directed by Kim Druzhinin and Andrey Shalopa, produced by Panfilov's Twenty Eight and Gaijin Entertainment. Initially the film used crowdfunding, later it has been financially supported by Russian and Kazakhstan governments and Gaijin Entertainment game development company. The premiere took place in Volokolamsk in 16 November 2016 and in Russia in 24 November 2016.
  The plot was written by Andrey Shalopa in 2009, and the production team took their teaser trailer of the film to Boomstarter crowdfunding platform, seeking co-financiers. "It will be a film about Soviet heroes. We will describe the battle near Dubosekovo, which went down in history as the deed of Panfilov's 28 men". The crowdfunding campaign was successful, and the film raised 3 million rubles out of planned 300 thousands.
context_section_description: In the process of filming, the picture operators used the following documents: storyboard, director's script, operator's table and tank battle scheme. The battle scheme contained the exact location of the tanks and the camera at different times, and the operator's table described what technique to use in what scenes. Such careful preparation allowed the team to work in winter conditions and with a short daylight.
  The directors wanted to use a minimum of 3D animation and take as many effects as possible on the camera. The first experiments they conducted, moving primitive toy tanks the size of a matchbox on the sheets with the help of ropes. These experiments have shown that using reduced models of tanks will create the right level of realism.
  As a contractor for the creation of special effects, Scandinava studio, previously specializing in commercials and having no experience with large films, was chosen. Specialists from Scandinava performed experiments on high-speed shooting and interested Druzhinin and Shalopu with his clip "Oil", in which a column of combustible liquid was rotating and ignited without the use of 3D animation. To work on the film, the studio expanded the staff from six to 28 people.
  To create personnel with tanks, studio specialists used the old technology of combined shooting-special effect. On the field, full-size wooden models of tanks, covered with green cloth, were used in the field, which the workers moved around the field on a sleigh. Then the surveyors made measurements of the landscape, and Scandinava recreated the battlefield at a scale of 1:16 in the studio and photographed all the scenes with detailed models of tanks, reduced by 16 times. To create a winter atmosphere in the film (snow, blizzard, the sky changing in the film's drama), the consequences of the attacks (smoke, ash), and to amplify gun shots and some explosions, Scandinava decided not to use the traditional approach using CGI (Computer-generated imagery, The letters "computer-generated images"), instead taking real natural effects on the camera. Shooting on the nature, tanks and natural effects were collected by layers on the computer in one single image.
  This approach required a certain technique of filming. In order to move the toy tank were like moving the present, it was necessary to shoot it four times faster, and then slow down the received frames. The camera, accordingly, had to be moved four times faster than on the field, which can not be done with hands. Therefore, in the pavilion shootings for camera control, the operators used the robotic arm KUKA Agilus, provided and programmed with the help of specialists from the Research Research Institute of Robotics. For close-up shots, a full-size mock-up of the PzKpfw IV tank was built, the cabin of which was recreated on Lenfilm as a separate capsule on the springs, which made it possible to achieve realistic pitching during shooting. Currently, the layout is kept in the Museum of the Karelian isthmus in the Vyborg.
  The whole film was shot on the camera Arri Alexa (English) Russian, except for tanks, where because of the size required the apparatus of the company Red. Optometry used a spherical lens Illumina of the St. Petersburg plant "LOMO" - according to the operator, this solution allowed to smooth out the effect of the "excessively high-quality" image, which is inherent in all modern cameras.
caption: Full-scale shooting models 1: 1
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