3 Body Problem

SHOWRUNNERS: DAVID BENIOFF, D. B. WEISS and ALEXANDER WOO

From alien tech to 1970s computer terminals and Nanotechnology to spacecraft mission control, Netflix’s 3 Body Problem provided us with the broadest scope of work we have experienced here at BLIND. We provided all of the designs and animations for on set and multiple shots in post.

HIGH TECH CABIN

Multiple screens representing the monitoring of each character's VR headset within the world of the ‘San-Ti'. Location, neural activity, iris response, audio and vital signs are visualised to represent a harnessing of alien and existing technology.

TECH ROOM

Software engineers hack the recovered drive from ‘Judgement Day’ and unlock the ‘San-Ti’ system on board the ship. A combination of analysis and hacking systems interspersed with the use of location software.

PARTICLE ACCELERATOR

One of the key scenes for us within this set is a simulation sequence where scientists are testing how slight changes in climate and chemical compositions result in catastrophic changes to the habitable environment of Earth. Foreshadowing the challenges the characters are experiencing when in the world of the ‘San-Ti’.

RED COAST BASE

Set in 1970 at a Chinese research facility trying to contact alien activity, Ye Wenji receives a signal and although warned ‘DO NOT ANSWER’ responds with the fateful message for them to come and save humanity. We created displays for scientific equipment and terminals for the receiving and sending of the messages.

BASEMENT LAB

A laboratory set within ‘Wychwood Manor’ is experimenting with cryogenics and how to transport human life in order to intercept the ‘San-Ti’ spacecraft. Multiple screens representing cryogenic and life support systems, brain and vascular activity.

NANOTECH LABORATORY

For this scene we had to represent the main control systems for Auggie’s nanofibre cutting machine as well as showing the process at a molecular level. CCTV of the lab along with multiple background elements made this one of the larger sets we were involved in.

WYCHWOOD MANOR

The secret base where ‘Wade’ is organising scientists to help create the ‘Staircase Project’, the mission to intercept the Sophons. We provided animations for multiple sets including the engineering of the probe and the nanofibre sail along with multiple environmental screens.

FLIGHT CONTROL CENTRE

For the largest set within season 1 we provided over 50 animations for playback and post. Monitoring the launch of the probe and the explosion of the nuclear payloads to propel the probe on its journey, we helped graphically visualise the narrative sequence of events to the audience. We researched real systems and technologies and liaised with NASA specialists to help realise the designs and animation.

YOU ARE BUGS

The first indication that the ‘San-Ti’ are not coming in peace is broadcast around the world via phones, computer and television screens. We deliberately kept the typography very simple, working on the idea that they would be communicating via a vey basic digital typeface that could be replicated in many different languages.