<span class=normal> The visual effects needed to be seamless and invisible<BR><br><p class=clear>&nbsp;</p>Talking about the working on the end sequence at MPC and the creative aesthetical thought behind the visual effects in the scene, Arundi says, The whole sequence was shot on the south side of London, and our mission in MPC was to make the end sequence feel like it was taking place in the Scottish Highlands at a place called Glencoe. The place was made to feel like it was in the middle of a bleak winter, although we shot the sequence in summer so we mainly recreated the environment. The film was shot with ARRI Alexa digital; we started working on the sequence around March right through summer. Shedding light on the quality and the sum of VFX work involved, Jon says, The visual effects needed to be seamless and invisible; here at Cinesite most of out work was concerned with augmenting the physical effects and stunts. We accomplished a series of visual work like set extensions such as the underground tunnel, CG train extensions, driver replacements, rig removals and the catacomb train crash. The practical train crash stunt was augmented by extending the environment, cleaning up the rig and adding dust and debris. However, the Komodo dragon fight sequence was our primary mission, we made full CG photorealistic Komodo dragons that interact with the environment and the actors.<BR><BR><amp-img width=1.33 height=1 layout=responsive src=https://images.bollywoodhungama.com/img/feature/12/dec/skyfall04.jpg></amp-img></span>