Painting Practice Cardiff
Wolf Studios Wales
Glass Avenue
Cardiff
CF24 5EN
Production Company
Bad Wolf
Production Designer
Erica McEwan, Julian Luxton
Broadcaster
BBC/Disney
VFX Supervisor/Art Direction
Dan May
The Doctor Who spin-off The War Between the Land and the Sea is a showcase of our full creative scope. From initial world-building, cutting edge sequence creation, creature design and in camera motion graphics – we helped bring this epic conflict to life. Our work ensured an experience that remains true to the Doctor Who universe whilst pushing its visual storytelling into new, dark territory.
Under the direction of Erica and Julian, we played a key role in shaping the visual identity of The War Between; crafting a world where land and sea collide.
In Episode One, we focussed on establishing the Empress Hall and the Tank. The design of these environments took significant creative and technical design work and played a crucial role in bringing the story’s central tension to life.
We also developed and reimagined key character designs for the water based creatures and characters.
A standout challenge was the Homo Aqua Base explosion in Episode Three, where we pushed the boundaries of digital and practical design to create a setting both visually striking and narratively essential.
As the Season progressed, our work across oceans to develop a rich visual language that blended the grandeur of the sea with the grit of the land. Every element from tank filling shots, to the worldwide Homo Aqua arrival was meticulously designed to feel both grounded and otherworldly.
VFX Supervisor Dan May, led the team in crafting some of The War Between’s most ambitious sequences. With large-scale set pieces and heavy VFX integration, previs played a crucial role in ensuring every moment was meticulously planned for both production and post.
From the chaos of a plastic apocalypse to the high-stakes destruction of the underwater chamber, every sequence demanded a seamless blend of digital and practical elements. Working closely with director Dylan Holmes Williams, we previsualised these complex moments in Unreal; spotting cameras and visual beats to support the shoot, while streamlining the post-production process.
Postvis further refined the action, allowing for precise integration of VFX heavy sequences before final execution by Automatic.
Leveraging Unreal Engine, we developed real-time visualisations that enabled the team to explore and refine complex sequences before cameras rolled. A key innovation was the use of our Plan V toolkit, which provided the director and DOP with interactive environments to plan shots with precision. Using Techvis for sequences like Episode One’s soldier sinking and Episode Two’s plastic apocalypse was key to seamlessly blending live action with large-scale VFX.
Seeing our designs evolve from initial concepts to final VFX shots is at the core of our work. Acting as the bridge between the art department and visual effects; we ensured every element – from environments, to creatures and key frames – were meticulously developed and carried through the entire pipeline. Our approach allowed for seamless translation of concept art into high impact, cinematic moments. Take a look at how our early explorations shaped the final on-screen world of The War Between the Land and the Sea.
Motion Graphics were integral to The War Between the Land and the Sea, enhancing storytelling with immersive, functional design. From tactical interfaces to deep-sea communication systems; every element was crafted to feel authentic and lived in.
A major focus was the extensive in-camera motion graphics; with over 30 screens in the Imperial House control room alone, alongside additional set-ups on board unit transport. These real-time displays provided tangible, responsive visuals on set, allowing actors to interact naturally with their environment while ensuring a seamless fusion of practical and digital elements in the final production.
