In 2019, Netflix and creators Alex Pina and Esther Martínez Lobato were “Moneyist Season 3” to capture Spanish TV to a new production level.
Now they appear poised to do the same in the thriller “The Billionaire Bunker.” Released on September 19th, it was filmed at Netflix’s Tres Cantos Europeanandocroders Center, the largest studio complex in the European Union and the most major high-tech hub.
“It’s the most ambitious series we’ve seen in Spanish history, not just budgets, but also the language, structure and character build of the story,” said Spanish Netflix VP Diegolix on Tuesday, visiting Netflix’s production center and the “Billionaire Bunker” megaset, visiting Cormenar Viejo in the nearby village.
With a size of 6,200 square meters (66,700 square feet), the interconnected spaces over 100 provided a more immersive experience for workers. The bunker is of course claustrophobic, but Aros is luxurious enough to convince a billionaire who can spend weeks,” Avalos said.
“The billionaire ‘Bunker’ is also Spain’s first Netflix series, making extensive use of virtual production.
The series also brings harsh criticism of the world’s richest 0.1% moral misery that directs the future of mankind, for the sake of God and government.
The “billionaire bunker” begins as World War II appears to be about to break out. Successfully appeals to him, Max (Pau Simon) meets him at the gates of a prison by his repentant father and rushes to Chimera Underground Park, a super-luxurious billionaire bunker, 900 feet below the ground.
Max and his family were surprised by the shock of being surprised at the telecast at the Bunker Show, which was destroyed by the nuclear war.
However, Max and Guillermo’s family have an unfinished business. Drunk and taking the medicine, Max drives his father’s car to the tree. His girlfriend, Anne, has passed away. He is sentenced to prison for involuntary manslaughter. Ane’s father, Guillermo and sister Alice are both bunkers, and hatred is still courageous.
Vancouver Media, Pina and Martínez Lobato’s Madrid-based label Bylionaires ‘Bunker’ produced on Netflix begins with an apocalyptic tone and proceeds to a fun fiction show. Starting with one genre, you keep changing genres, like Russian dolls. This is completely different to what we did before,” Pina said.
Billionaire bunker
Credit: Tamara Arranz
“The show mentions the current geopolitical situation, but it’s about the character’s journey, the emotional journey,” Pina added.
“This is a show about big deceit and big secrets,” Martínez Lobato teased on a set visit. “The genre changes are offset by the ensemble cast and the creation of powerful characters. Different viewers will fall in love with different characters for a variety of reasons,” observed Avalos.
“In a sense, “The billionaire ‘bunker’ is even further than the ‘money heist’.” “Confined in a bunker, they lose hope. All they have left is to take off their masks and become themselves.”
“The Billionaire Bunker” is also a dystopian reality thriller. This is the vision of a high-tech banker hotel, wearing its own high-tech craft and production, and virtual production values on its sleeves.
The bunker, painted in turquoise and amber colors, imitates World War II minimalism and Bauhaus, and is an art director, art director and physical production for Vancouver Media. “We were looking for a strong visual identity. We learned that from ‘Money Heist’. Visual identity is a way to reach international markets.
The first production since “Berlin” by Pina and Martinez Robato includes a set of 4,800 extras and a 7,000 square meters (75,000 square feet) and over 160 sets, requiring more than seven months of construction.
The Bunker’s context had knock-ons for the story, Pina claimed. “The fact that we shoot in a limited space increases our creativity. In fact, it’s the fourth show we’ve done in a trapped space. It’s like a pressure cooker. You can enhance the drama and the characters. They get hooked.
From rear projection to in-camera VFX
Netflix Spanish megaproductions also used a 30 x 6 metre virtual screen and an 8 x 4 metre ceiling screen.
For years, Netflix has raised its anti-tech change. “He was the first to showcase HDR, Dolby Atmos, a new post-production workflow, and one of the first workflows to use virtual sound and virtual production,” Avalos said. “It’s incredible to see how all of the sudden technical challenges to create more unique storytelling have been solved first by the non-English language market and by those who had to count every penny all the time.”
The Berlin still utilized traditional rear projection, but lastly tested virtual production. “The Billionaire Bunker” was filmed in HDR and Dolby’s Atmos. It was also the first Netflix show in Spain, with a very widespread use of virtual production via VFX in camera, said Victor Martí, Netflix’s production manager.
Three factors indicate the change, he added. Netflix has begun working with virtual production supervisor David Monguet. Over the past two years, Netflix has developed an open source tool, Open VPN. This will cycne Ronaud the color camera space with the LED panel, allowing complex camera VFX, and move more VFX from post to pre-production. Also, according to Martí, the prices for LED panels are falling.
At Tres Cantos Netflix Production Center Press Visit, Vancouver Media co-producers and visual designers Martí and Migue Amoedo delve into high-tech innovation through demos on a Stage 7 virtual production set.
With its widespread use in the full season of 160 sequences, the epic results of VFX in camera can be seen in the memorable opening credit sequence of one of “Bankers of the Billionaire.” The camera is drifting blue sky and white lace clouds, surrounded by three shining tower blocks, eventually lined up over the windows.
“Alex (Pina) noticed the clouds around the blocks of Madrid’s finest towers. He said he wanted a scene,” recalls Amoedo. Pina got it.
Amoedo and Martí displayed warm sunlight trolling the central Paseo de la castellana from dusk, wrapped in 180-degree LED screens, and up until night, warm sunlight trolling through the central Paseo de la castellana.
“In showrunners, the possibilities of VFX in camera means their creativity explodes,” commented Amoed.
Pina agreed. “Very recently I called Migge and asked for a man and a dog in a river cage that was raining at night.”
He definitely got that shot too.
