Earlier this year, Adam Gascoyne walked us through Union VFX’s work on the series The Franchise. Today, he returns to discuss his latest collaboration with director Danny Boyle on the highly anticipated film 28 Years Later.
You’ve worked on a wide range of films, but 28 Years Later is a return to one of the most iconic horror universes in British cinema. How did it feel to be part of this next chapter in the 28 Days Later saga?
Returning to this world was incredibly rewarding. Having worked on 28 Days Later with Danny all those years ago, there was a sense of continuity, but also an opportunity to evolve the story and visual language. This new chapter explores how the virus, Britain and the world has changed, and that gave us a lot of scope creatively.
You’ve collaborated with Danny Boyle on several projects over the years. What was unique about working with him on this one?
Danny always finds ways to challenge convention. On this film, it was the decision to shoot largely with iPhones that really set it apart intitially. That informed the aesthetic from the outset. Because we’ve worked together for over two decades, there’s a strong trust and shorthand that made it easier to support that approach and adapt our VFX process accordingly.
Did your creative shorthand help in shaping the visual tone of the film?
Definitely. By now we don’t need to over-explain things to each other. Danny will talk in terms of energy or emotion, how a scene should feel, and I know what he means. That kind of shorthand is what lets us move quickly and take risks. The goal was always the same: make the VFX serve the story without pulling you out of the film.
A bold decision was made to shoot large parts of the film using iPhones. From a VFX standpoint, what were the most significant challenges this presented in post-production?
There were a number of technical hurdles. The iPhones didn’t record lens metadata, so matchmoving was more complex. The 4:2:2 chroma subsampling reduced the effectiveness of greenscreen keying, so we switched to greyscreens and relied heavily on roto. The limited dynamic range led to clipped highlights, and the stabilisation system created some distortion artefacts in the background. All of these required adjustments to our usual workflows.
Were there any unexpected advantages or opportunities that emerged from using this unconventional camera setup, especially when it came to integrating visual effects?
Definitely. The portability of the iPhone rigs allowed us to shoot in environments that would have been difficult or impossible to access with conventional cameras, protected landscapes, small interior spaces, and areas with unpredictable weather. We also developed a 20-camera and a 10-camera iPhone rig, which enabled us to achieve bullet-time-style shots that captured practical SFX gore in dynamic and unusual ways.
The film takes us through a wide range of striking environments, both real and augmented. Can you talk about your approach to designing and enhancing these settings while maintaining the gritty realism of the franchise?
The idea was to create a believable world that had been without technology or maintenance for nearly 30 years. Nature had reclaimed much of it, and everything we added digitally had to feel grounded and textural. Even our full CG environments were based on real-world reference. We wanted the VFX to disappear into the frame.
One of the most visually striking locations is the island that serves as a supposed refuge. What were the main challenges in bringing that environment to life — both from a creative and technical standpoint?
The biggest challenge was the Causeway, a narrow strip of land linking the island to the mainland. We shot only about 100 meters practically and extended the rest in CG, including the water, mist, and bioluminescent glow as characters move through it. The CG sky was created using astrophotography from Kielder Forest Observatory and captured by Dan Monk. In this world Britain has been in quarantine and “shut down” for almost 3 decades so this led us to imagining what the sky might look like after 28 years of no light pollution.
How much of the island was built practically versus digitally extended or fully created in CG?
We’d need to check that with the production team. I know we extended a lot digitally, but I’m not sure exactly how much of the island itself was built physically. The environments were always a blend, practical base, subtle VFX enhancements to keep the visuals very grounded.
And how did the VFX work support the emotional arc of the characters once they arrive there?
We focused a lot on making the island feel real and believable, and adjusted the tone or atmosphere through VFX to track the characters’ emotional shifts.
There’s a haunting location made entirely of bones and skulls. Can you tell us how that was conceived and realized in VFX, and what sort of atmosphere you were aiming to create with it?
All practical.
Let’s talk about the infected. After so many years, how did you approach updating their look and behavior, while still staying true to what made them so terrifying in the original films?
The infected are still fast and brutal, but we tried to build on what came before. We worked closely with the prosthetics team to add digital enhancements, things like facial detail, open wounds, or subtle eye effects. It all had to feel raw and grounded. There’s a kind of endurance to them now, like they’ve been out in the world suffering for decades. We aimed to show wear and age while retaining what made the infected so terrifying in the original films.
There are several sequences involving animals. How were these creatures created and animated?
We did a herd of CG deer, a pack of rats that flee from a digital train, and some CG flocks of birds. Wherever possible, we used plates or shot real animals.
Did you rely on full CG, plate elements, or a hybrid approach?
We tried to get as much in-camera as possible, then used VFX to extend, enhance, or clean things up. The Happy Eater sequence is a great example; there was a bit of practical reference for the gas, but most of it was built digitally. Same with the explosion at the end of that scene. Lots of FX sims layered into real plates.
The crossing to the island includes a beautifully surreal moment with a sky full of stars — almost dreamlike in tone. How did you craft this more poetic visual interlude within such a dark narrative?
That was one of our favourite sequences. We used a reference from Dan Monk at the Kielder Forest Observatory, a place with zero light pollution. We imagined that 28 years without artificial light would give you this incredible night sky.
Were there any memorable moments or scenes from the series that you found particularly rewarding or challenging to work on from a visual effects standpoint?
The Causeway sequence, for sure. It had everything: water sims, CG skies, mist, birds, and lots of action. We built out the environment to feel about 1.5 miles long, even though we only had a small stretch to work with on set. The aurora sky and bioluminescence gave it a surreal quality without stepping outside the film’s grounded tone. It was a beast to put together, but the result is something I’m really proud of.
Looking back on the project, what aspects of the visual effects are you most proud of?
Probably how invisible most of it is. We had almost 950 shots, and a huge amount of them you’d never know were VFX. The Causeway and Happy Eater sequences are big showpieces, but I’m just as proud of the more subtle work, set extensions, atmospheric tweaks, things that let the story breathe.
How long have you worked on this show?
We kicked things off in February 2024, and the shoot ran from mid-May through to the end of July. We started the bulk of the VFX work in October and wrapped up delivery in May 2025.
What’s the VFX shots count?
Almost 1000 shots, completed by a team of 148 across our London and Montréal studios.
What is your next project?
We have a very exciting slate of projects coming up, can’t wait to tell you more!
A big thanks for your time.
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WANT TO KNOW MORE?
Union VFX: Dedicated page about 28 Years Later on Union VFX website.
© Vincent Frei – The Art of VFX – 2025
