Honouring our Past: World-Class VFX and Post Production Bring History to Life in “Ka Whawhai Tonu”
Set in Aotearoa, New Zealand in 1864, “Ka Whawhai Tonu” powerfully brings to life a pivotal battle from the New Zealand land wars in the Waikato region. Through the eyes of two young teenagers, the film captures the chaos and heroism of the Māori resistance against British Colonial forces. Behind the scenes, world-class VFX and post-production teams from OHUfx, Department of Post, Cause and FX, Bunker, and independent artists like Paul Campion played a crucial role in translating this historical narrative to the screen. These teams, seasoned by international productions, deliver top-tier capabilities to domestic features, ensuring Aotearoa’s stories are told with visual authenticity on the global stage, honouring Aotearoa’s history and tūpuna.
Producer, Thomas Toby Parkinson, highlights the collaborative spirit that defined the project:
“One of the things about this project is that everyone who worked on it knew that this was a special story. We asked a lot of the VFX and post-production teams and they never failed to deliver above and beyond. Budget and time constraints were significant, but what made this work was that everyone, including the creative team, was prepared to solve problems differently. We all created and worked in an environment where everyone was heard and was encouraged to work together across different disciplines and houses to solve problems. I am so proud of the final outcome of this picture, and a massive part of that success is the extraordinary quality of the VFX and post-production team’s work. New Zealand’s VFX teams are known as world class, and their work on ‘Ka Whawhai Tonu’ just reinforces and enhances that reputation.”
“Ka Whawhai Tonu” shares a fictional retelling of the battle at Ōrākau, a conflict that took place in the Waikato region 160 years ago amid a nationwide confiscation of Māori land. Directed by Mike Jonathan, the movie features some of Aotearoa’s most recognized faces in film and television, including Cliff Curtis and Temuera Morrison. The film also introduces new talent, such as Waikato actress Hinerangi Harawira-Nicholas, making her acting debut as one of the lead characters, Kōpū.
Paul Campion, the on-set VFX supervisor of the large army drone shot, utilised Unreal Engine for previsualization, helped to plan and executed the drone shot. Paul explains,
“I used the production's aerial location map and stockade plan to create a very basic 3D environment in Unreal Engine, then animated the drone camera angles we needed to achieve.”
This innovative approach allowed the team to keep the VFX budget down while ensuring a high-quality final product. Paul continues,
“I was only on set for one day, but I could tell straight away it was going to be something special. There was a great vibe on set and the cast and crew were committed to making the drone shot work.”
Amanda Davison of Cause and FX explains the challenges involved in a pivotal action shot of the battle scene. Amanda explains,
“We were delighted at the invitation to create a digital colonial army, required to emphasise a momentous moment in this historic battle. In a wide aerial shot, the magnitude of the British forces about to storm the pā are revealed, as three thousand soldiers appear at the bushline.”
The team meticulously built a 3D colonial army with historically accurate uniforms, rifles, and Armstrong cannons, integrating them with live-action footage to create a seamless and impactful visual experience as it was simply not possible to film practically on location.
The VFX work extended beyond the battlefield. Amanda adds,
“The careful up-front pre-production planning of this dramatic shot meant the VFX artists were enabled to execute the complex work as efficiently and convincingly as possible.”
This detailed preparation included test drone takes, location Lidar capture, and comprehensive environmental data collection, ensuring every element was perfectly integrated.
Auckland studio, Bunker, contributed with invisible 2D work, enhancing the authenticity and immersive storytelling of the period production. Luke Sharpe from Bunker shares,
“Our team meticulously handled a massive number of visual enhancements, including blood and musket fire to create the essential intensity of the historical battles, atmospheric effects, and prosthetic cleanup using AI tooling to perfect closeup shots of actors' faces.”
In post-production, the team at the Department of Post developed a pipeline with Bunker to accommodate the filmmakers' clear vision. Post Supervisor, James Brookes explains,
“The filmmakers approached us with a strong, cinematic vision. We developed a pipeline that allowed the director and producer to review VFX updates in a projected DCI large format environment using a Christie 4K laser projector. This setup ensured all creative decisions were made with the cinematic appearance in mind. Working closely with colorist James Gardner, we not only blended the VFX seamlessly, but also used DI tools to add additional effects, enhancing the battle’s reality and extending the relationship between DI and VFX.”
Jade Kent, Manager at Film Bay of Plenty, adds,
“Film Bay of Plenty finds incredible value in seeing our stunning regional locations featured in the battle scenes in ‘Ka Whawhai Tonu.’ While the work around the large battle was primarily created by Cause and FX, many of the plates as well as the whole film were shot right here in our beautiful region. This film highlights the unique role our local landscapes play in bringing authentic stories to life.”
The combined efforts of all those involved with others who were part of the production brought "Ka Whawhai Tonu" to life, ensuring the film's historical battles are both visually stunning and authentic.
“Ka Whawhai Tonu” - Struggle Without End is now playing in 21 cinemas in New Zealand.