Game Trailers
World of Tanks - No Going Back
Glassworks
World of Tanks is a popular multiplayer tank combat game. Until 2022, its biggest markets were Belarus and Russia. The franchise now needed to establish its entertainment credentials with Western gamers. And attract more casual players to its annual winter takeover, ‘Holiday Ops’. All during an extremely sensitive cultural moment - with divisive wars waging around the world.
Most clients would play it safe. After all, Christmas advertising is notoriously sentimental and uncreative. Who would notice? Instead, they created ‘No Going Back’. A subversive festive blockbuster featuring hardman movie star Vinnie Jones in a vintage Chieftain tank. The film follows Jones, as he breaks the news to his previous employer - Santa Claus - that he’s no longer able to enforce the naughty list because he’s hosting Holiday Ops.
Ranging from explosions to subtle enhancements, VFX complements the film’s fantastical tone with realism and grit, embodying the director’s vision. The close collaboration between compositing and CGI artists, guided by the on-set VFX supervisor, ensured a smooth workflow, filled with precision and creativity.
Filmed in August at a British country house, the film required a winter setting, achieved through meticulous compositing, snow addition, and in-house colour grading. All explosions, including the oversized gift and golden reindeer shooting, were crafted by the 3D team and polished by the compositors for maximum realism. These flammable CGI objects were designed in collaboration with director and agency to match the desired aesthetic.
Working with a restored WWII tank on set posed challenges regarding actor safety and functionality. Consequently, the VFX team replaced the tank in several shots with a photoreal 3D version. Photogrammetry techniques were employed to give the CG tank realistic textures, capturing the characteristic dirt, wear, and tear – without complex texturing nor lighting – and guaranteeing speed and flexibility in the workflow. Additionally, these techniques were used to animate the tank's gun-firing and create recoil. While pyrotechnic charges were used on set to create some interactive light, the tank itself lacked the feeling of heaviness and power, as it never fired or moved! Smoke and light were also enhanced using 3D and 2D, seamlessly integrating them into the footage.
Finally, matte painting was used to craft the iconic final scene with Vinnie Jones merrily riding toward a majestic landscape amidst fireworks.
CREW
VFX by GLASSWORKS
On Set Supervisor: Urs Furrer
Lead 3D Artist: Darren Macpherson
3D Artists: Mateusz Kozlowski
Lead 2D Artist: Urs Furrer
2D Artists: Kyle Obley, Nils Crompton
Colourist: Jonny Thorpe
Colour Assist: Vanessa Aparicio
MCR: Andy Kidd, Natalia Bartyzel, Sean Moran
Chief Operating Officer: Chris Kiser
Head of Production: Ashley Goodwin
Producer: Jamie McCubbin
Production Coordinator: Maryam Zahid
Other Crew
AGENCY: CUBO
DIRECTOR: Andzej Gavriss
Software
Flame, Houdini, Baselight
