Artem Case Studies

Welcome to the Punch Red Diesel Ltd/Momentum

'Thank you to Mike and the boys, working within time and budget constraints.  They were amazing and made it all work.'

Eran Creevy - Director

Artem was asked to provide all the physical effects for Welcome to the Punch.  These included a prosthetic knee from which James McAvoy drains fluid throughout the action.  The prosthetic was created from a life cast in our West London workshops, and incorporated a retractable syringe and a hidden fluid supply, after much research into the actual medical aspiration process. 

Other floor effects included rain around the Paddington area from a variety of rain equipment.  “This proved tricky due to the nature of the buildings and the difficulty of hiding rain stands”, said Mike Kelt, Artem SFX Supervisor on the film.

But the majority of the effects required were pyrotechnics.  It is a “Cops and Robbers” film, after all, with key shoot-out scenes integral to the story.  Where major damage had to happen, the scenes were shot in the studio.  This included a hotel room which was devastated by gunfire, with broken tiles, glass and a loo cistern disintegrating around Mark Strong as he cowered down on one side of a wall.  Everything had to be tested carefully and remade in softer material for safety, including a concrete post that had to have realistic chunks taken out of it. 

Another set piece was a small living room where a gun fight broke out in a space about 3m square.  Shot at 500fps, this scene really looks special, although in reality it was shot over a period of a few seconds. 

Other scenes were shot on location.  For the nightclub, The Ministry of Sound at Elephant and Castle was redressed as the Shug Rox, with false sections of wall and bar being fitted that could be blown apart as 4 guns blazed.  For the final scenes in a container yard, roughly 20 actors wielded and fired machine guns.  “Throughout all this, it had to look real, and not too ‘Hollywood’”, commented Mike. “It was important to keep it organised, yet adaptable, as the ambitions of the script were huge but, like most films, the schedule was tight.” 

One of the last scenes shot, although one of the earliest to appear in the film, is set in and around a timber building.  The action called for a fireball to blow out through a window and destroy the end wall of the building, but, as it was a private house, no actual damage was possible.  A real fireball was blasted out through the window, (which was carefully prepared and protected), sending a stuntman flying (helped by a jerk rig) and a section of the house was built as a 1/3 scale miniature and blown apart to capture the board flying outwards.  The final composite shot is powerful, and tells the story.

The final film is a triumph, and breaks the mould by making London look sexy!

Industry
  • Film
Discipline
  • Atmospherics
  • Prosthetics
  • Pyrotechnics & Fire
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