Dear Edward Season 1

Working closely with Showrunner Jason Katims, Production Designer Anu Schwartz, Director Fisher Stevens, and Producing Director David Boyd, Framestore’s New York-based team was responsible for major VFX across five of the 10 episodes, most notably the plane crash site in a Colorado field featured heavily in the first episode and throughout the season. The team was tasked with inspiring the sense of terror that the pilots felt as they flew blindly through an electrical storm, and supporting the desolation of the characters later sifting through the plane wreckage.  

The production team shot the scene covering an area between 50-100 feet with practical set pieces in a field within the Hudson Valley area of New York. A specialist was contracted to capture LiDAR scans of the partially dressed crash site, as well as aerial photogrammetry for the surrounding field.

Framestore’s VFX team took the existing footage and extended the wreckage, cutting up and isolating dozens of pieces of practical wreckage from the LiDAR scan and using these assets to build out the crash site. Having the practical scan as a base allowed the team to solve every production camera angle in a single world space, and negated the need to individually model and texture hundreds of pieces of CG, solving for any production camera position within the virtual wreckage.

Working closely with Showrunner Jason Katims, Production Designer Anu Schwartz, Director Fisher Stevens, and Producing Director David Boyd, Framestore’s New York-based team was responsible for major VFX across five of the 10 episodes, most notably the plane crash site in a Colorado field featured heavily in the first episode and throughout the season. The team was tasked with inspiring the sense of terror that the pilots felt as they flew blindly through an electrical storm, and supporting the desolation of the characters later sifting through the plane wreckage.  

The production team shot the scene covering an area between 50-100 feet with practical set pieces in a field within the Hudson Valley area of New York. A specialist was contracted to capture LiDAR scans of the partially dressed crash site, as well as aerial photogrammetry for the surrounding field.

Framestore’s VFX team took the existing footage and extended the wreckage, cutting up and isolating dozens of pieces of practical wreckage from the LiDAR scan and using these assets to build out the crash site. Having the practical scan as a base allowed the team to solve every production camera angle in a single world space, and negated the need to individually model and texture hundreds of pieces of CG, solving for any production camera position within the virtual wreckage.