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AVALANCHE
AVALANCHE
TV MINI-SERIES
TV MINI-SERIES
AVALANCHE is a character driven natural disaster story, which follows meteorologist who returns to her hometown to alert the villagers of an imminent catastrophe. The show highlights the realities of climate change and the direct impact it can have on people's lives when warnings of impending disaster are ignored.
AVALANCHE is a character driven natural disaster story, which follows meteorologist who returns to her hometown to alert the villagers of an imminent catastrophe. The show highlights the realities of climate change and the direct impact it can have on people's lives when warnings of impending disaster are ignored.
(THE SERIES IS CURRENTLY IN POST-PRODUCTION, NO VISUALS HAVE BEEN RELEASED)
(THE SERIES IS CURRENTLY IN POST-PRODUCTION, NO VISUALS HAVE BEEN RELEASED)
We shot the series in and around Reykjavik, and in a couple of little coastal towns on the north coast. We started principal photography in a backlot set the art department had created in an empty lot in Bláfjöll (Blue Mountains), about a 40 minute drive from Reykjavik. Due to rising temperatures, our set was quite literally melting away from us by the day, so it required a lot of flexibility and quick thinking, on a daily basis. The art department did an incredible job working out ways, on the day, to provide us with the beautiful sets seen in the series.
Originally, the idea had been to utilise the ca. 150x150 meter backlot to have 5-7 separate sets built with the massive amounts of snow the art department had gathered. There was a kind of road system within the sets that gave us flexibility and access to bring in cherrypickers, grip, SFX and other machinery all the way in close to the set being shot at any given time. Despite being hit by intense weather, rapidly melting sets and an incredibly intense shooting schedule, we managed to capture great scenes and beautiful images - all thanks to the relentless mentality of the crew, who would stop at nothing to get it done.
We shot the series in and around Reykjavik, and in a couple of little coastal towns on the north coast. We started principal photography in a backlot set the art department had created in an empty lot in Bláfjöll (Blue Mountains), about a 40 minute drive from Reykjavik. Due to rising temperatures, our set was quite literally melting away from us by the day, so it required a lot of flexibility and quick thinking, on a daily basis. The art department did an incredible job working out ways, on the day, to provide us with the beautiful sets seen in the series.
Originally, the idea had been to utilise the ca. 150x150 meter backlot to have 5-7 separate sets built with the massive amounts of snow the art department had gathered. There was a kind of road system within the sets that gave us flexibility and access to bring in cherrypickers, grip, SFX and other machinery all the way in close to the set being shot at any given time. Despite being hit by intense weather, rapidly melting sets and an incredibly intense shooting schedule, we managed to capture great scenes and beautiful images - all thanks to the relentless mentality of the crew, who would stop at nothing to get it done.
Figuring out how to shoot the series was both an incredible opportunity to experiment and an enormous challenge. One of the biggest questions was how to portray the avalanche itself, but it was no less demanding to capture the dark, stormy, post-avalanche world where the characters fight for survival. Beneath all the stunts, SFX, VFX, massive set builds, and complex camera and lighting demands, the story was ultimately about a daughter and her fractured relationship with her family and friends in her hometown — something the director and I constantly reminded each other of.
Figuring out how to shoot the series was both an incredible opportunity to experiment and an enormous challenge. One of the biggest questions was how to portray the avalanche itself, but it was no less demanding to capture the dark, stormy, post-avalanche world where the characters fight for survival. Beneath all the stunts, SFX, VFX, massive set builds, and complex camera and lighting demands, the story was ultimately about a daughter and her fractured relationship with her family and friends in her hometown — something the director and I constantly reminded each other of.
CREDITS
CREDITS
Created by: Þórður Pálsson & Óttar Norðfjörð
Director: Þórður Pálsson
Writer: Óttar Norðfjörð
Executive Producers: Andri Ómarsson, Andri Óttarsson,
Arnbjörg Hafliðadóttir, Baldvin Zophoníasson
Producer: Guðgeir Arngrímsson
Line Producer: Birna Hjaltalín
Unit Production Manager: Andri Freyr Hlynsson
1st Assistant Director: Laura Andrea López Estrada
Director of Photography: Andri Haraldsson & Magga Vala
Production Designer: Heimir Sverrisson
Costume Designer: Helga Rós Hannam
Hair & Makeup Designer: Joséphine Hoy
Editor: JoJo
VFX Supervisor: Sigurgeir Arinbjarnarson
SFX Supervisor: Eggert Ketilsson
Stunt Coordinator: Jón Viðar Arnþórsson
A Camera 1st Assistant: Guðjón Hrafn Guðmundsson
A Camera 2nd Assistant: Andri Fannar Kjartansson
B Camera Operator: Hálfdán Theodórsson
B Camera 1st Assistant: Godi Már Guðbjörnsson
B Camera 2nd Assistant: Svava Lovísa Aðalsteinsdóttir
DIT: Sölmundur Ísak
VTR: Ólafur Þór Gunnarsson
Stills Photographer: Juliette Rowland
BTS: Tómas Welding Sigurðarson
Camera Trainee: Helga Björg Oddsdóttir
Drone Operator: Arnar Þór Þórsson
Gaffer: Dagur Benedikt Reynisson
Best Boy Electric: Óttar Andri Óttarsson
Electrician: Andrea Rut Pedersen
Swinger Electrician: Andri Marinó Karlsson
Key Grip: Jón Andri Guðmundsson
Best Boy Grip: Atli Thor
Grips: Haraldur Hrafn Thorlacius,
Magnus Unnar Georgsson
Production Company: Glassriver
Created by: Þórður Pálsson & Óttar Norðfjörð
Director: Þórður Pálsson
Writer: Óttar Norðfjörð
Executive Producers: Andri Ómarsson, Andri Óttarsson,
Arnbjörg Hafliðadóttir, Baldvin Zophoníasson
Producer: Guðgeir Arngrímsson
Line Producer: Birna Hjaltalín
Unit Production Manager: Andri Freyr Hlynsson
1st Assistant Director: Laura Andrea López Estrada
Director of Photography: Andri Haraldsson & Magga Vala
Production Designer: Heimir Sverrisson
Costume Designer: Helga Rós Hannam
Hair & Makeup Designer: Joséphine Hoy
Editor: JoJo
VFX Supervisor: Sigurgeir Arinbjarnarson
SFX Supervisor: Eggert Ketilsson
Stunt Coordinator: Jón Viðar Arnþórsson
A Camera 1st Assistant: Guðjón Hrafn Guðmundsson
A Camera 2nd Assistant: Andri Fannar Kjartansson
B Camera Operator: Hálfdán Theodórsson
B Camera 1st Assistant: Godi Már Guðbjörnsson
B Camera 2nd Assistant: Svava Lovísa Aðalsteinsdóttir
DIT: Sölmundur Ísak
VTR: Ólafur Þór Gunnarsson
Stills Photographer: Juliette Rowland
BTS: Tómas Welding Sigurðarson
Camera Trainee: Helga Björg Oddsdóttir
Drone Operator: Arnar Þór Þórsson
Gaffer: Dagur Benedikt Reynisson
Best Boy Electric: Óttar Andri Óttarsson
Electrician: Andrea Rut Pedersen
Swinger Electrician: Andri Marinó Karlsson
Key Grip: Jón Andri Guðmundsson
Best Boy Grip: Atli Thor
Grips: Haraldur Hrafn Thorlacius,
Magnus Unnar Georgsson
Production Company: Glassriver
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