Inside the Mind of Silo VFX Supervisor Daniel Rauchwerger: Unveiling an Unprecedented Dystopian Creation

Warning: SPOILERS for Silo season 1!

Summary

Silo, available on Apple TV+, is widely acclaimed as one of the top TV shows in 2023. Its captivating narrative and unexpected turns make it a compelling blend of a thriller and a dystopian sci-fi.

The creation of Silo's distinct visual style owes much to the integral contributions from the production design and VFX teams. They meticulously crafted over seventy tangible sets and utilized digital enhancements to bring the world of Silo to life.

Working in close collaboration with showrunner Graham Yost, VFX supervisor Daniel Rauchwerger played a crucial role in bringing the Silo to life. His contributions included designing the Silo's generator, as well as the final scene and more.

Silo, available on Apple TV+, has garnered a reputation as one of the top TV shows of 2023. Adapted from Hugh Howey’s book series, this gripping television adaptation seamlessly blends the genres of thriller and dystopian sci-fi. With the confirmation of a second season, viewers can eagerly anticipate further developments in the story, including more of Rebecca Ferguson’s compelling portrayal of Juliette Nichols and further exploration of the show's unique world.

Silo's unique universe required the expertise of production design and VFX departments to develop its distinct aesthetic. The series featured over seventy practical sets, which were expanded digitally by professionals like VFX supervisor Daniel Rauchwerger. Rauchwerger played a crucial role in achieving the grand scale of Silo, contributing to the design of the Silo's generator, the show's final scene, and more.

In an interview with Screen Rant, Daniel Rauchwerger discussed his involvement in shaping the visuals of Silo, collaborating with showrunner Graham Yost and author Hugh Howey, and other aspects of the production. It is important to note that this interview took place during the 2023 WGA and SAG-AFTRA strikes, and the show discussed in this interview owes its existence to the hard work of writers and actors from both unions. The interview has been edited slightly for clarity and length.

Daniel Rauchwerger On Silo

Screen Rant: I interviewed your production designer, who shared some initial concepts for the Silo's interior that were perhaps too ambitious or costly to carry out. Were there any elements that you were disappointed to let go of due to budget constraints or the need for efficiency?

Daniel Rauchwerger: When working on a show, there is always a sense of excitement as you start envisioning certain things. Gavin (Bocquet, production designer) and I were thrilled about creating an incredible space and believed we could bring it to life. However, sometimes these ideas may not align with the story at a specific moment, prove to be too expensive, or simply impossible to construct. In those instances, we collaborate to find ways to preserve as much as possible, often relying on visual effects. For example, we might decide to showcase a floor without physically altering it, allowing it to exist in the background and adding another layer of texture and creativity.

There were a few things that were present but had to be removed, and accepting that is necessary. It's always a bit sad because we considered it our creation, a solution for something, and then suddenly we have to discard it because it doesn't work well or due to budget constraints.

One minor observation I made is that the computer interfaces used by ordinary people in the Silo seem outdated and retro, while the IT department has advanced technology. I'm interested in how you discuss using visual storytelling to depict the contrast between those in power and those who are not, as well as the class divisions within the Silo.

The entire structure of the Silo was designed to emphasize the concept of separation. We started with the costume design, hair, and makeup, aiming to visually distinguish the Down Deepers from the Up Tops. Our focus was on creating a sense of degradation throughout the Silo, illustrating the fall from the top towards the light dome we constructed, and ultimately reaching the people down below. The atmosphere becomes more intense, characterized by rust, dirt, water damage, and a general lack of maintenance.

In terms of computer technology, our intention was to convey the idea that the people in the Silo are confined to outdated software. If we were to give this software to someone today, they would perceive it as limiting. It only provides the necessary functionality for messaging and information transfer. However, when advanced technology is introduced, it becomes clear that its absence is not due to unavailability.

But even with that technology, we aimed to maintain a delicate balance, refraining from excessive use or creating an overly futuristic experience that would feel foreign to us. It was almost as if we were saying, "That's our equivalent of CCTV; that's the contemporary technology we are acquainted with," but with the introduction of some advanced elements that enhance the sense of control. There exist individuals who have access to the knowledge and familiarity we possess, which is readily accessible in our present time.

You all put in a lot of effort with the generator early in the season, and it is clear that there were many set extensions and similar tasks. What was the most challenging aspect of working on the show?

Daniel Rauchwerger: The scope was the most complicated. The design of the Silo has multiple layers. When I joined the show, my first task was to create the main set, which was a floor of the Silo. However, it was also important to understand that the Silo extends beyond the floor horizontally. This meant that in every shot, whether looking up or down, a complete set extension had to be visible. The idea was to showcase the off-set elements in almost every scene.

The production design presented us with an expansive and stunning set. However, upon reviewing the designs, we realized that it was essentially one open vertical space. It was crucial for us to collaborate and find a way to create an environment that seamlessly extended and appeared natural. Our ultimate goal was for the audience to be fully immersed in the show without ever questioning the boundaries of the set or noticing any visual effects. We wanted everything to unfold right before their eyes, as close to the camera as the story required, without any concerns or interruptions.

Due to the open nature of the space, a significant amount of set extension was necessary. This presented an additional challenge in a city setting, as it meant that people would be visible in the background. To truly sell the illusion of a bustling city, it was essential to bring it to life. We had to carefully consider how to make the Silo, for example, appear dynamic and visible from every floor, even if it was just a conversation taking place in a backroom. It was important to seamlessly blend the extension of the blue screen with the physical set so that there were no obvious distinctions or disruptions.

In Silo, VFX plays a crucial role in delivering impactful moments throughout the series. From the flickering view screen to the visually stunning season finale, the team behind the scenes works diligently to strike the perfect balance between teasing and revealing. Collaborating closely with the talented individuals at Rodo, we meticulously plan and execute each shot, carefully placing every element within the frame to create that mind-blowing "wow" factor. Personally, I couldn't be more thrilled with the end result and the effect it has on the audience.

Daniel Rauchwerger explained that Graham Yost, the showrunner, had a deep understanding of the story and how to adapt it for television. Whenever they had questions about how the Silo worked, they would turn to Graham for guidance. They wanted to ensure that the show felt grounded in reality and that viewers could easily understand and relate to the Silo. Every question was taken to Hugh Howey, the author, to ensure that the answers aligned with the books and maintained the authenticity of the Silo world. This approach helped them avoid mistakes and inconsistencies in the storytelling.

I discovered that you have worked on several movies that I am a fan of, including Attack the Block. Does your experience working on lower-budget films influence your approach to visual effects, even on projects with larger budgets?

Definitely. My career started in the commercial industry, where budgets were often minimal. I gained experience working on smaller projects and films like Attack the Block, which had modest budgets. This pushed me to find innovative solutions in order to effectively convey the story and assist the director in realizing their vision. We initially discussed the concept of preserving the intended impact, and as creative professionals such as production designers, special effects artists, and VFX experts, we become excited about ideas. However, when faced with budget constraints, we collaborate to explore alternative methods to deliver the original vision we all envisioned.

There may be compromises, but having a background in smaller budget productions provides valuable knowledge on how to find simpler and cost-effective solutions while still achieving desired results. This was particularly exciting in Silo, as everyone involved had experience with both bigger and smaller productions. We had to collaborate and brainstorm ideas, from changing lenses to adjusting camera angles, to create the desired shots. With input from the diverse team, we found a successful solution that ultimately paid off.

When people work well together and all departments collaborate to create a cohesive final product, it is evident on the screen. The goal is to build something seamless, where the lines between production design and our work, or between real human crowds and CG crowds, are indistinguishable. If we do our job right, you won't even know we were there - it's all about the story and the enjoyment it brings. We want you to be fully immersed without thinking about our presence.

About Silo

Explore our collection of interviews related to Silo, the compelling story centering around the final ten thousand survivors on Earth. These individuals reside in a mile-deep refuge, shielding them from the hazardous and lethal external world. Intriguingly, the origins and purpose of this silo remain shrouded in mystery, with anyone daring to uncover its secrets facing dire consequences. Portrayed by Rebecca Ferguson, Juliette, an engineer, embarks on a quest to unravel the truth behind a loved one's murder, unearthing a profound enigma that surpasses her wildest expectations. Prepare to be captivated by the revelation that, in this captivating tale, it is not only lies that pose a lethal threat but also the truth itself. Be sure to peruse our array of other interviews connected to Silo here:

Rebecca Ferguson

Tim Robbins

Avi Nash

Harriet Walter

Chinaza Uche

Graham Yost & Hugh Howey

Common

Gavin Bocquet

All episodes of Silo are streaming now on Apple TV+.

Source: Screen Rant Plus