The next two big sequences are the Waterfall and Ice Lake, which comprise 80 shots. "The Waterfall was mainly compositing work using a set piece and great location elements to tie this sequence together and one that you'd really only ever see in a big action movie," Parry explains. "The Ice Lake relied more on CGI and, here again, the emphasis was on doing as much for real as possible, especially in the shooting time frame."

The rest of the vfx involves set extensions, blood and guts, split screen work, rig removal and morphs. "This show was, like most, working to a schedule and a budget and, as such, there was no time or the luxury for tests or rehearsals. Save the Waterfall sequence, the visual effects were shot along with the production shooting schedule. These are filmic, National Geographic-type shoots: real-looking, in all kinds of weather, moving at the production's fast pace; this was a mean feat.

Bill Desowitz is senior editor of AWN & VFXWorld.