Hopefully, the younger generation will understand and appreciate the value of peace more.

(PLVN) - As the man behind the impressive special effects in many historical and war films, architect Dinh Viet Phuong continues to make his mark by participating in two films, "Tunnels: The Sun in the Darkness" and "Red Rain". Vietnam Law Newspaper had a conversation with Mr. Viet Phuong to hear him share about his journey of recreating war memories with modern, passionate special effects.

Báo Pháp Luật Việt Nam•27/04/2025

Having experience in creating visual effects for numerous war and historical films, how did you envision recreating the hardships of wartime when you started working on the visual effects for the films "Tunnels: The Sun in the Darkness" and "Red Rain"?

- When I started working on the special effects for "Tunnels: The Sun in the Darkness" and "Red Rain," I realized these two films required a large-scale recreation of a brutal war environment. My work focused on the air raid and explosion scenes, which were crucial segments in portraying the ferocity of the battlefield.

In "Tunnels: The Sun in the Darkness," I followed the director's direct instructions, performing scenes of the US Air Force attack, simulating flight paths, explosions, and the aftermath on the ground. For "Red Rain," I collaborated with the director and cinematographer to recreate scenes of the air attack on Quang Tri Citadel . In particular, the scenes of fighter jets dropping bombs from high angles showcased the overwhelming power and devastating effects of war.

What is the biggest challenge when trying to "recreate" war using technology?

- The biggest challenge was maintaining authenticity without making the special effects look ostentatious. Air raid scenes not only required precise simulation of flight paths, speeds, and bomb trajectories, but also perfect synchronization with the lighting and image composition dictated by the director.

In particular, for "Red Rain," the scene of fighter jets bombing the Citadel from a high angle required us to handle multiple layers of effects: from the aircraft's imagery and bomb-dropping movements to the spill effects, dust, smoke, and explosion light.

For you, where is the line between cinematic special effects and historical truth?

- I view special effects as a means of conveying history vividly, but without adding embellishments or distorting its essence. When creating scenes of air attacks and explosions, I always double-check with the director and compare them with wartime footage to ensure accuracy.

Were there any scenes that impressed you technically during filming due to their complexity?

- The most impressive scene is in "Red Rain," when fighter planes circle and drop bombs from above onto the Citadel. This scene had to be created entirely using CGI, in which we meticulously simulated the fighter planes, their flight paths, and precise bomb-dropping maneuvers, combined with the effects of a devastated ground and thick smoke and dust rising.

Every step of the process, from handling lighting and reflections from the explosion to camera movement, had to be synchronized with the set, ensuring the scene captured the intense atmosphere without being overdone, exactly as the director intended.

“Underground Tunnels: The Sun in the Darkness” is set in 1967, during the escalating war against the US. The film revolves around the struggle of a 21-person guerrilla group led by Bay Theo (Thai Hoa) at the Binh An Dong base. The guerrilla group is tasked with protecting a newly arrived strategic intelligence group that has taken refuge at the base. Meanwhile, “Red Rain,” produced by the People's Army Film Studio after 10 years of preparation, is scheduled for release on September 2nd, coinciding with the 80th anniversary of Vietnam's National Day. The film draws inspiration from, and incorporates fictional details from, the 81-day and 81-night battle to defend the Quang Tri Citadel in 1972.

On the occasion of the 50th anniversary of the Liberation of Southern Vietnam, what are your personal thoughts on contributing to recounting the victory through modern visual language?

- Participating in two war films during the 50th anniversary of the Liberation of Southern Vietnam was a great honor for me. Although I was behind the scenes, I felt proud that the images I created contributed to reviving memories of sacrifice and of the young soldiers who fell.

I always hope that, through the language of modern cinema, today's young generation will better understand and appreciate the value of peace , and see more clearly what our ancestors had to pay to preserve independence.

What can visual effects artists—even those working behind the screen—convey about national memory?

- Every special effects scene, whether it's an explosion, an airplane, or a plume of smoke, is meticulously crafted. I believe that accuracy and respect for history in each frame is also a way for special effects artists to express their gratitude and responsibility in preserving the nation's memory.

Architect Dinh Viet Phuong is a familiar name in the field of digitizing and 3D modeling of heritage. He and his colleagues have brought back many lost and forgotten relics and artifacts. 3D technology has helped reconstruct the stone pillars of Dam Pagoda (Bac Ninh), Hien Lam Pavilion (Hue Imperial Citadel)... Along with that, he also created a 3D art exhibition recreating Hanoi's Old Quarter in 2007. In 2010, Architect Dinh Viet Phuong also designed all the projected images about heritage and history for the 1000th anniversary of Thang Long - Hanoi. He also contributed to the digitization of artifacts for the Quang Ninh Museum; projection products for the Ha Giang Museum;…