The Last Letter

at Otomat
  • supervisor
  • comp

Plot Summary

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.

Project details

  • 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