The Eternaut

BUILDING A WORLD OF SNOW AND SURVIVAL: BOAT’S VFX JOURNEY IN THE ETERNAUT

When Netflix decided to adapt The Eternaut, the iconic Argentinian graphic novel by Héctor Germán Oesterheld and Francisco Solano López, into a live-action miniseries, it was clear that visual effects would be crucial in bringing this epic dystopian story to life. Directed by Bruno Stagnaro and produced by K&S Films, the six-episode series portrays a Buenos Aires ravaged by a deadly snowfall, the first wave of an alien invasion. For BOAT, a VFX studio with offices in Argentina and Uruguay, it was both a major challenge and a unique opportunity to contribute to one of the most ambitious productions in Latin American history.

With over 1,900 VFX shots delivered by ten vendors worldwide, The Eternaut required unprecedented scale and coordination. BOAT was responsible for 360 shots and 40 CG assets, involving a team of over 70 artists across South America.
“This project wasn’t just about achieving visual excellence,” says Guille Lawlor, VFX Supervisor and CEO of BOAT. “It was a chance to show just how far Latin American studios can go on the global stage.”

BUILDING THE SCENE: A SNOWY APOCALYPSE IN BUENOS AIRES

The series’ central narrative presented a major production challenge: recreating a city completely covered in a deadly snow... in a place where it never snows. To meet this demand, the production team built over 15 main sets and used more than 500 tons of artificial snow across both outdoor and studio shoots. BOAT was also responsible for the onset supervision and worked closely with the art department, grips, and special effects teams to ensure seamless integration between practical and digital elements.

A 10,000 m² warehouse entirely covered in bluescreen hosted many key sequences, including the Maipú scene, where physical sets were digitally extended. Other scenes, like the train sequence, blended real elements, such as a functioning locomotive and limited sections of track, with fully digital environments created by BOAT. This approach enabled cinematic freedom without compromising safety.

SCALING UP: A MULTI-TEAM STRUCTURE

To handle the volume and complexity of the project, BOAT organized four independent teams with mirrored structures, each including supervisors, coordinators, CG leads, and compositing artists. These teams were supported by specialized cross-department units covering FX, matchmove, layout, modeling, lighting, and editorial. This modular approach allowed BOAT to scale effectively while maintaining a cohesive visual style throughout the series.

CONNECTING WORLDS: USD AND UNREAL ENGINE AT THE CORE

One of the most forward-thinking aspects of BOAT’s pipeline was its adoption of Universal Scene Description (USD), which served as a technical backbone for organizing and scaling workflows across teams and software. This strategic decision was essential for maintaining consistency, clarity, and efficiency in a project of this magnitude.

At the same time, the production team led by K&S and director Bruno Stagnaro embraced Unreal Engine from the beginning as a tool for environment creation and visualization. The Virtual Art Department (VAD), part of the production company, developed many of the digital sets used during filming, allowing key creative decisions to be previewed and refined early on. BOAT also used Unreal Engine to generate environments and set extensions, but their strength lay in the seamless integration of these hybrid workflows, thanks to their USD-based structure.

“Unreal allowed us to make artistic decisions on the fly, test ideas on set, and ensure visual continuity from preproduction through post,” explains Bruno Fauceglia, On-Set VFX Supervisor. “In some scenes, we could see in real time how the final composite would look. That’s priceless.”

Fauceglia, who supervised over 150 shoot days, also highlighted the importance of aligning technical and narrative goals:
“We had a huge responsibility to give this story the visual tone it deserved. And that only happens when art and technology work side by side.”

BOAT’s Houdini-based FX pipeline was key for simulating snow, destruction, and smoke; but in The Eternaut, the real technological breakthrough came from the intensive use of Unreal Engine. Houdini provided precision and flexibility for natural simulations, while Unreal enabled rapid, interactive environment building with real-time feedback.

“Our team pushed Unreal to its limits,” says Juan Manuel Nuñez, CG Supervisor at BOAT. “We had to design snow that was both beautiful and terrifying, a constant, looming threat. Every flake mattered.”

RAISING THE BAR: IMPACT AND LEGACY

Beyond its scale, The Eternaut represents a milestone for the regional industry. The project proved that South American studios can lead complex sequences at the highest technical and creative standards.

In total, BOAT executed 2,524 individual VFX tasks and delivered over 28,000 versions,  averaging 78 iterations per shot. It was a testament to both the complexity of the work and the team's dedication.

“It was a turning point,” reflects Cecilia Menchaca, VFX Producer at BOAT. “We showed that we can operate at the level of top global studios and that we have our own voice and creative perspective to offer.”

LOOKING AHEAD

The Eternaut is a story of survival, but for BOAT, it was also a story of growth, collaboration, and transformation. With its proprietary pipeline, strong team of artists, and international partnerships, BOAT is ready for even greater challenges.

“We’re proud of what we built,” concludes Lawlor. “But more than anything, we’re excited for what’s coming next.”

Watch The Eternaut on Netflix, premiering April 30th, and get ready for an unforgettable story!

* Highlighted Stats

360	60	2,524	28,000	40	70	9872
VFX SHOTS	VFX ARTISTS	VFX TASKS	VFX VERSIONS	3D ASSETS	TB	RENDER HS