 Dracarys.
(DROGON ROARS)
STEVE KULLBACK:
 Things need to be shot faster
 and they need to be
 turned around faster
and this whole journey
of Game of Thrones
has been one of figuring out
how to rise to that occasion.
JOE BAUER: We're pushing
 the boundaries here
 all the time.
 All eyes are on us,
and we're trying to do things
that nobody's done before.
But showing up each year
 with a new stack
 of things to do, that is fun.
It's much more than a job.
It is our way of life.
(ICE CRACKLES)
There's a lot about working
on a project like this
that's like joining the circus.
 We move 10,000 miles
 away from home
and we put up our tent
to put on our little show
and then we tear the tent down
and move it somewhere else.
 We have four supervisors
 on the ground with us
 starting out.
Now we have 24 previous people,
3 additional supervisors.
KULLBACK:
 The number of concept artists,
 multiple visual effects,
 editors,
and the team that works with me
sort of in air traffic control
 has grown to five
 and six strong,
and there's quite a bit
of air traffic
to control at this point.
-(HORSES WHINNY)
-(DROGON ROARS)
The biggest challenge
for visual effects
 is defining
 what the workload is.
From the scripts, we have
a really good general idea
 of what we're doing,
 but for us,
 it comes down to
 the individual shots.
Every shot defines a method.
(DRAGON SCREECHES)
Seasons two and three,
we were looking at
six and eight hundred shots
in a given season.
 Now we're looking at
 multiples of that
in a single episode.
It's a remarkable demand
on our team.
BAUER: It's hard to say
 what's my favorite shot
 because we've done so many,
but the one that's in my mind
right now is the frozen lake.
 Viserion does this strafe,
 which we follow,
and then we tilt up just in time
for Drogon with Dany on his back
 to land on the island,
 and we're running with
 the wights toward the dragon.
And he strafes us
and wipes us all out.
(VISERION SHRIEKS)
KULLBACK: Viserion's death,
 that was an amazing moment.
We're contributing
what is effectively
a character in the show
that needs to behave in a way
that elicits
 an emotional response
 from the viewer.
It's a really special thing
as a visual effects person
to be able to play
that kind of a role.
You can tell when the animators
get very excited
about what they're doing,
and they start making
 really gorgeous performance.
 When the Night King puts
 his hand on the dead dragon,
 and the camera's scraping
 right along the scales.
I mean, all of that had to look
absolutely real.
What I'm going to miss the most
is the daily creative exercise.
 I'm not kidding.
 We've done more than 10,000
 visual effects shots.
I don't expect to ever be able
to work with a group of people
who are as devoted and talented
and determined
to do the best thing
for this long.
This is a once-in-a-lifetime
perfect storm moment
 where a bunch of
 insanely creative people
 come together
 to pull out something
 that none of us thought
 could be done,
 would be done, should be done.
What are we gonna miss about it?
Oh my God, all of that.
This is certainly
very memorable. (CHUCKLES)
I don't know what
the emotional impact's gonna be
when we finally deliver
the last shot
 'cause I've been 100 percent
 living this show
 year-round for five years.
I think it's going to be
a big life change for everybody.
(DRAGON ROARS)
