Set during the Battle of Gallipoli in 1915, the story of “The Last Letter” follows a young Turkish pilot and a nurse who together rescue and attempt to shelter a young orphan boy amidst the chaos of battle.
- A total of budgeted 462 VFX shots (excluding online cleanup jobs) were executed and finalised.
- 95 of the VFX shots were totally CG with no actual footage.
- About 150 online cleanup shots were finalised.
- A team of 13 VFX artists (7 of which from start to finish and the rest up to 6 months) worked for 7 months prior and 6 months after the principal photography to meet the deadline without any delays. - British / French fleet of 1915 which consisted of 17 main battleships and numerous mining ships were modeled and textured.
- 5 airplanes were modeled , rigged and textured.
- Gallipoli area was fully modeled (including vegetation) for aerial scenes .
- Pre-visualisation (and blocking) was done for all airplane and battleship scenes.
- All terrains, clouds and sea were realised with cg to achieve a consistent look and style throughout the film.
- All pilots were scanned, modeled and animated for shots that did not need closeup acting.
- Fluid simulations were done for all battleship smokes, cannon fires and explosions.
- Fluid simulations were done for all ship - water interactions.
- Goggles of the pilots from the actual footage were replaced because of unwanted reflections.
- Merih Öztaylan: VFX Supervisor, Compositing, Pre-visualisation
- Emre Aypar: Compositing Supervisor
- Efkan Öztürk: Fluid Simulations
- Erdem Demirci: Modeling, shading, lighting, water simulation
- Enis Özbek: Modeling, crowd simulation
- Selim Çobanoğlu: Terrain and sea generation
- Alican Serbest: Compositing
- Emre Samioğlu: Compositing, matchmoving
- Altuğ Tümer: Compositing
- Yasin Yalva: Fluid simulations
- Oğuz Gül: Animation
- Yasin Berker: Animation
- Emre Onel: Online Editing