The young heroes of “The Wheel of Time,” Season 2, face greater perils and threats than before, and they must tap into untapped reserves of strength to vanquish the Dark One.
Water, wind, and fire may be employed in the actual world to bring the world of The Wheel of Time to life, as discussed by production artist Ondej Nekvasil and special effects supervisor Ondej Nierostek.
The second season finale takes place in a brand new metropolis known as Falme. A large battle, complete with fireballs, explosions, and plenty of action, is included to keep viewers engaged.
Now that the Wheel of Time has returned, the youthful heroes face greater peril than ever before. Last season’s showdown between Rand and Moiraine and the Dark One was not the Last Battle. When Rand goes into hiding and Moiraine is rendered powerless, the Two Rivers crew must discover other means of gaining influence. She also provided a dire prediction of future events. As they travel the globe in quest of their strength, they may discover it where they least expect it. Together, they will eventually be able to vanquish the Dark One for good.
The cast of The Wheel of Time includes Rosamund Pike, Daniel Henney, Zo Robins, Madeleine Madden, Josha Stradowski, and Marcus Rutherford. Dnal Finn replaces Barney Harris as Mat Cauthon in Season 2. The concept for The Wheel of Time was developed by Executive Director Rafe Judkins. The best-selling books by Robert Jordan and Brandon Sanderson serve as inspiration for the Prime Video series.
The novel take on Nynaeve introduced in Season 2 also violates canon.
Screen Rant spoke with Ondej Nierostek, the show’s special effects producer, and Ondej Nekvasil, the show’s production designer, about season two of The Wheel of Time. They discussed the massive sets they constructed and the physical effects like water, wind, and fire that were used to bring this world to life. They both alluded to an epic story ending with a massive battle and flames in a brand new city.
Both Ondrej Nekvasil and Ondrej Nierostek discuss the second season of “The Wheel of Time.”
This is the tea room in Tar Valon, and I’m Ondej Nekvasil. In the pilot, we saw Moiraine sipping tea in this very spot while keeping an eye on Nynaeve and Loial in the far corner.
Mr. Nierostek, Ondej Yes, you have hit the nail on the head. The show will have a high percentage of practical effects because we have a top-notch visual effects team supporting us and allowing us to confirm or tweak our claims. But what if, for instance, it rains and it doesn’t matter where we go or what we do? Our goal is for it to be logical.
We intend to go into as much detail as is necessary to convince you that this phenomenon occurs naturally and is robust. Everything about the breeze, the smoke, and the fires is the same. We need this or that to be as accessible as possible to the players. Explosions, when used, should occur as near to the camera as feasible for maximum effect.
Yes, without a doubt, Ondej Nekvasil said. The entire walkway, for instance, is constructed of concrete that has been scratched and carved to look like stone, and this is important information to have. However, that is not a theory. It’s just regular, long-lasting asphalt. The facade, which is made primarily of boards with plaster molds on them, is undergoing the same treatment. We need to plan for it to truly snow, pour, and blow so fiercely that it disrupts normal activities.
We must also consider how to transport the fire to the location, how to make the most of any applicable fireplaces or fire pits, as well as how to transport the gas to the location, how to use the gas, and how to stay safe while doing so. Because the frequency with which an event with tangible consequences occurs is always an open question. For instance, setting a house on fire is simple, but maintaining that flame for two days is what really counts. That’s the rub, actually. Making it rain in the same way for two days is difficult because it’s easy to make it rain for a few minutes. The problem about special effects is that they need to be reliable, reliable, and safe.
So, once the set is constructed, we’re debating whether or not we can do that, as stated by Ondrej Nierostek. Or you could be standing in a deep puddle if it rains on a holiday. You need to give some thought to the final destination of all the water you are sending. The fires from any torches or braziers should be directed toward the walls. To avoid setting fire to the set, we must ensure that the materials are fireproof. Therefore, care must be taken to ensure everyone’s safety and that no surprises arise.
It depends on the joke, Ondrej Nierostek says. A good illustration of this is Ondej’s claim that we were essentially arsonists. Due to the season and the location, it was too risky for us to attempt it. The sets featured an interior that we constructed on stages, but it was fireproof. Each group collaborated with one another to find a solution.
To illuminate it, we just used the neighboring electric bulbs and flame bars. Then we constructed a brand-new house, burnt it for effect, and composited it into the previously shot scenes.
We had 18 weeks to construct Tar Valon, as Ondej Nekvasil pointed out. Let’s pretend there are six working days in a week because we couldn’t possibly use only five. A similar set can be built in at least 18 weeks. But until then, there is still time to put together a strategy. Therefore, we do have the broad strokes of a plan, and that is normally how things function. The construction crew is receiving high-level designs of the facades, while we continue to work on the specifics and wait for the arrival of doors, windows, and shutters at the workshops.