Beginning of March 2021, he pleased fans of a large-scale television brake by the start of the show on the first channel of the Russian 16-serial film "Ugryum-River", filmed on the novel of the writer's novel and engineer Vyacheslav Shishkov. The creators of the teleopopic had to be pretty to work well with the search for suitable director of locations, selection of props and arrangement of decorations for various scenes. About where and how they were shooting the series "Gulm-River", - in the material 24cm.
Having written an exciting work about the difficult share of the threshold, the history of which unfolds against the background of the gold fever of the late XIX - early XX centuries, Vyacheslav Shishkov held a half decade spent in a Siberian taiga as part of various research expeditions. Penetrating the harsh beauty of the local nature and has heard various stories, some of them as a result and inspired engineers to try their own strength in the writing craft.
As the once most authorized the author, a group of cinematographers who were responsible for filming the series "Ugryum-River", headed by director Yuri Moroza had to make a lot of effort, looking for places resembling those described in the novel. Yes, and such that because of each bush, the signs of modern civilization like asphalt roads or telegraph pillars do not stick out.
And therefore, the geography of filming was very impressive, stretching on most of the country's territory, or even overlooking it.
Suzdal and Kineshma, the capital and Moscow region, Minsk and Yekaterinburg, as well as the deaf Taiga corners of the Urals and Siberia - the creators of the television epic everywhere, having committed seven expeditions in eight months (three of them - "in nature"), in which he had always accounted for dragging Not only themselves, but also bulky Baulas with the necessary equipment.
Therefore, a lot of time went to the preparation - along with the shooting, which began in July 2019 and ended in January 2020, the whole cycle took the year with excess.
Completely work and the fact that at every new place had to build scenery. And sometimes very serious in terms of work volumes. So, under Yekaterinburg, in the Kamenka Chusovoy Village River, filmmakers in May 2019 reproduced the village of the end of the end of the old century. Assembled logs with fences, mill, bridge, wells and baths. Even a marina was built, which, unfortunately, in April 2020 he demolished a flood.
In Suzdal, cinematographers worked on the territory of the Spaso-Evfimiyev of the monastery, where they were the corresponding era of the work of the construction, and in the square near the city trading series - there were decorators for the shooting of the series "Ugryum-River", there were vintage lanterns and gathered the arbor entering the beginning of the last century. And next to the Kremlin - on the banks of the river - organized collaps, similar to those with which the fur was once traded.
The creators of the "Ugryum River" and hotly beloved cinematographers Kineshma were bypassed. The town with his neat mansions and a charming view, opening up with the local embankment, wonderfully managed to keep in a modern insane tense tense of the spirit of the provincial depth of the XIX century.
But the difficulties with constant crossings between locations and the need to build reliable decorations of Merkli compared to the problems that they waited for cinematographers ahead, when the shooting was removed closer to those edges, where the events of the original source romance were unfolded. The conditions were the most difficult conditions during work in nature, where episodes with rivers were filmed, - in Siberia and in the Urals.
It was hard when we worked on the scene in which the heroes were fused, with difficulty overcoming the thresholds, along a stormy river, the role of which was played by the Ural Iset. The six-meter boat had to be delivered to the shore on the car, and then with caution to descend into twice meters directly to the place of filming.
And then the artists were still required on it and sailing, continuing to keep in the image. It was so much that sometimes for a whole light day was able to make a couple of doubles at best.
And this is taking into account the fact that in those edges of the chosen by the film crew separated from the nearest settlements on one and a half or two hundred kilometers of taiga. And to the place of filming of the next episode, it was still necessary to deliver people, supplies, equipment and the required equipment. However, the director and the rest were not too embarrassed by such difficulties in the process, because it was more important that viewers will be able to enjoy the colorful scenery of the real wildlife.
Fortunately, modern technical innovations allowed to simplify work noticeably. So, delightful in our charm, the screensavers finishing the beginning of each series were removed under Krasnoyarsk, on the River Mane, using drones, to which they were resorted to the assistance. According to the director, in the past it would not be possible to remove it - it would not be elementary to assemble the necessary number of helicopters, while the drones perfectly coped with the task.
The residence of Prokhor Gromov literally collected in pieces. In the Smolevichi located under Minsk, on the inhibitory platform "Belarusfilm", cinematographers found landscapes in which the scenery of the estate perfectly fit. The local lake was decided to turn into a Siberian river, erecting the barracks on the shore. They did not forget to build and harmoniously adding a landscape of a dam.
The plant and sawmill, belonging to the family of the main characters of the work, built and removed in the Urals. And the role of the very estate, the inner premises of which were filmed in the studio pavilions, played by the village of Serednikovo's manor.
Thanks to his unique form of a tower, which Prokhor in the book built a height with a 30-storey house, in order to overcome Taiga to tens of kilometers around, created using computer graphics, and then harmoniously entered the environment.
Such a scatter of shooting sites, however, did not lead to the fact that the viewer has the impression of the heterogeneity of landscapes. On the contrary, thanks to computer effects and competent installation, the estate is perceived as a single whole and looks quite reliably and compactly.
It is worth noting that on all seven-seized areas of cinematographers had to appear not to one time. For example, in Suzdal, the group brought at the very beginning of work, in July, and then returned in October and December 2019. A similar picture was with Smolevichi, where, after the capture of autumn species, cinematographers were again covered in winter.
By the way, speaking of winter, it will not work out bypass and such a moment as nature whims, with whom I had to face the creators of the series while working on the project. It seemed that Nature decided to laugh at all hopes and aspirations of the film crew, forcing all sorts of tricks and look for original solutions where, ideally, everything is obliged to work out naturally.
So, during work on the Urals nature, all sorts of lining often happened: for example, cinematographers with irritation met clearly dots with 30-degree heat, since just at that time, the shooting of episodes with rain were scheduled. And therefore, bad weather was created independently with the help of all sorts of equipment in order not to delay the process.
I did not please and the winter, which was surprisingly impact on the season. And as a result, instead of hope for sudden weather changes and abundant precipitation, it was necessary to use artificial snow. Therefore, all drifts in 16-serial tape are not created at all by the powerful forces of nature, but by the technical genius of a person.
At the end of the conversation on how the shooting of the "Ugryum River" series was shot, it is worth mentioning that the creators of the painting with all the care were approached not only to the selection of the seats suitable for the shield, but also to the creation of the appropriate realities of the props. Starting with costumes, a considerable part of which was shown by hand, and cars that had to lend from museums, ending the authentic time of food.