Perhaps the greatest challenge that Enemy at the Gates presented to Double Negative was how to serve the film’s narrative flow whilst staying as faithful as possible to history. For the opening sequence digital matte paintings depicting Stalingrad's war-torn skyline were derived from an exhaustively researched 3D architectural library.  Detailed surveys of surviving Stuka aircraft ensured an accurate portrayal of the dive-bomber attack. In the air raid sequence the 3D library was taken to its logical conclusion with a digital recreation of the entire ruined cityscape. Through extensive previsualisation all VFX work was tightly integrated with the film's dramatic structure.