Here to make the dirty beautiful. 😎 Watch, re-watch, love.
The tone of Good Omens is that there isn’t one, apart from the Good Omens tone, which is very eclectic, shifting through multiple genres as the main story progresses. We wanted a feel that could both be in the zeitgeist and be nostalgic at the same time.
We shot for around 15 weeks in England and five weeks in Cape Town, South Africa. We had over 60 different locations, huge set builds, a mountain of costume and make-up designs to develop and have made, thousands of extras; all leading to an incredibly complicated schedule. It was amazing, creative fun.
We had the usual problems to solve with the schedule on Good Omens, but the scale and ambition of the project was something that most of the unit hadn’t come across before. For instance, our main set build was a Soho street, with the key location for Aziraphale’s character being a bookshop that eventually has to be burnt down. This was an expensive set with huge CGI extensions that we ended up shooting in December of 2017 and January of 2018.
Then there was a vintage Bentley, the car that David Tennant’s character Crowley drives. This car had to look like it could drive around London at 90 miles an hour, and it too had eventually to be set on fire. Our car couldn’t achieve that speed easily or quickly, so Milk built a digital asset, and we had an interior Bentley built and used back projection and green screen to complete the look.
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On Good Omens we have an average of 200 CGI shots per episode. I wanted to use these like any other storytelling tool, and not just as a chapter beginning or ending. Cliché is the enemy with CGI, just like any other scene or shot construction, so I broadly used it through the three main characters.
Aziraphale and Crowley are an angel and a demon, so miracles are nothing to them, and I used the CGI surrounding them in that way: almost casually.
But with 11-year-old Adam – who is a child brought up in Oxfordshire that doesn’t realise that he’s actually the anti-Christ – we wanted to represent a child’s imagination. Therefore, when he imagines flying saucers, green duck-faced aliens, a Kraken or tunnelling Tibetans, the CGI is very much an 11-year-olds.
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The digital Bentley featured in scenes showing the car tearing around London and the countryside. Ultimately, Crowley drives through hell fire on the M25, and the car catches fire and burns continuously as he heads towards the site of Armageddon.
The production located a real Bentley 3.5 Derby Coupe Thrupp & Maberly 1934, which we photo-scanned and modelled in intricate detail. We introduced subtle imperfections to the body panels, ensuring the CG Bentley had the same handcrafted appearance as the real thing and would hold up in full screen shots, including continuous transitions from the street through a window to the actors in the interior of the replica car.
To get the high speeds required, we shot plates on location from multiple cameras, including on a motorbike to achieve the bursts. Later, production filled the car with smoke and our effects team added CG fire and burning textures to the exterior of our CG car, which intensify as Crowley continues his journey.
J’ai vraiment très TRES envie de regarder Good Omens, et j’ai regardé deux épisode hier, mais ils étaient en FRANCAIS et j’avoue qu’entendre Rampa comme prénom ça me SOULE donc j’ai vraiment besoin de le trouver en vostfr, SAUF QUE JE TROUVE QUE DALE CA ME SOUUUUUUUULE
they kept it as crowley in french??? boooooooo
arcticflakes
