When I joined the production, the script and shot breakdown were already established. My first task was to process the supplied bathymetric data of the wreck site to create a usable 3D model for layout and shot planning. To achieve this, I wrote a custom Python importer that cleaned and converted the seabed and wreck geometry into an optimised, manageable dataset.

While I worked on the underwater layout and simulation setup, Mads Ringdal handled high-resolution modelling and texturing of the submarine itself. Many of the props and underwater assets were based on CAD data or photographic reference, and an existing 3D model of a cod was adapted for use in several shots.

All underwater sequences were created and rendered in Houdini using Mantra, while the above-water scenes were produced in Autodesk Softimage with Redshift. Given the CPU limitations at the time, considerable effort went into optimising shaders, geometry, and render setups to ensure both visual quality and production efficiency.

The film was delivered on time and was well received by Kystverket and the public. It has since continued to appear in media coverage related to the ongoing political and environmental debate around the wreck. Still images from the film have even been used on posters and protest materials, giving the project a longer lifespan than is typical for this type of public information film.