▁forces ▁in ▁Afghan istan , ▁and ▁Russian ▁feature ▁films ▁such ▁as ▁St alk er ▁and ▁Come ▁and ▁See . ▁To ▁keep ▁the ▁details ▁within ▁the ▁commercial ▁consistent ▁with ▁established ▁H alo ▁canon , ▁the ▁cre ators ▁of ▁the ▁H alo ▁series , ▁B ung ie , ▁provided ▁Sand ers ▁with ▁information ▁on ▁aspects ▁r anging ▁from ▁appropriate ▁fur ▁color ▁and ▁rank ▁ins ign ia ▁for ▁the ▁Br ute , ▁to ▁the ▁arm or ▁and ▁weapon ry ▁of ▁the ▁O D ST ▁soldiers . ▁ ▁Post - production ▁With ▁film ing ▁complete , ▁M J Z ▁contact ed ▁post - production ▁company ▁As yl um ▁to ▁begin ▁work ▁on ▁the ▁substantial ▁visual ▁effects ▁component ▁of ▁The ▁Life . ▁The ▁team , ▁led ▁by ▁Visual ▁Effect s ▁Super visor ▁Robert ▁M og g ach , ▁triple d ▁in ▁size ▁as ▁the ▁scale ▁of ▁the ▁work ▁required ▁became ▁apparent , ▁given ▁the ▁dead line ▁of ▁three ▁weeks . ▁Work ▁on ▁the ▁opening ▁fun eral ▁scene ▁was ▁relatively ▁easy , ▁requiring ▁the ▁creation ▁of ▁only ▁minor ▁elements ▁such ▁as ▁additional ▁tomb st ones ▁in ▁the ▁for eground ▁and ▁color ▁correction ▁on ▁the ▁actors . ▁The ▁same ▁was ▁true ▁for ▁the ▁training ▁sequence , ▁where ▁only ▁minimal ▁tracking ▁work ▁and ▁compos iting ▁of ▁mat te ▁background s ▁was ▁required . ▁The ▁bulk ▁of ▁the ▁visual ▁effects ▁work ▁was ▁in ▁the ▁battle ▁sequence . ▁This ▁r anged ▁from ▁simple ▁work ▁such ▁as ▁wire ▁removal ▁to ▁the ▁creation ▁of ▁dynamic ▁light ing ▁and ▁ref lections ▁from ▁vis ors ▁and ▁arm