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I have many plans lined up and live action feature is among them, but I’m still collecting the necessary experience and I’m just trying to do my best in what I do now.
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Imagination works at full throttle during these sessions.Īfter this photo-real project, have you planned to go on live action feature for your next project? MoCap is in many ways simpler than a typical live action set, but you have to see beyond people wearing funny outfits. Directing is about listening to your gut, about quick reactions, and improvisation. It’s one of the deadliest weapons on the planet, and there are not that many films out there that really drive this particular truth home. It’s one of the few movies that clearly show you how deadly a simple knife can be.
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One of the most important references was this movie called THE RAID. I’ve provided the choreographer with some references, gave him some initial ideas and the rest came from him and his team. Their knowledge and their experience helped us immensely. We worked with all of them on all our previous projects from The Witcher series. We had a great team of stuntmen and great choreographer. How did you design the fight choreography? Such events are harrowing, but necessary, and ultimately make our projects better. Sometimes even major changes in the story can take place quite late in the process. One thing worth mentioning is that usually projects involving CG are not that straightforward. At that stage, the heavy lifting is done by the CG Lead (in this case, Grzegorz Kuku?) and other members of the crew. So, actually, my directorial duties don’t really involve a significant workload. The texturing and simulation teams work on it, then we give it to the lightning and rendering guys and finally, we finish the process with compositing. First we get the models done, and then we do the animation. The process actually follows a similar path in every one of our projects. Once the script ready, what are the next following steps? It surely was one of the most important parts of the entire process. I think we had about 12 ideas for the teaser, written both at Platige and CD Projekt, and the discussions and getting the story to its final shape was a long and arduous group effort. The script needs to be discussed, changed, and compared against the budgetary and production constraints. At the first draft stage I’ll be outlining 3 or 4 different ideas, but that’s just the start. We have an amazing creative connection with the team at CD Projekt. The process usually involves a mixture of the scripts we get from CD Projekt and the ideas that pop up in our heads when we start working on the piece. It was one of our biggest challenges to date.Ĭan you tell us how you find the story idea for this cinematic? In the case of this piece, however, every single detail was important to the overall effect. Big, epic movies often hide defects and imperfections in special effects. Each imperfection of either models or animation was immediately visible. We couldn’t hide anything, every little detail had to be polished to perfection. This seemingly straightforward, intimate scene became one of our toughest projects so far. A kind of scenario that is much easier to shoot live than to do with animation. Just a dirt road in the middle of nowhere and several characters. No clashing armies, no helicopter shots, no explosions, falling buildings, and all that sexy stuff. A handful of characters, a single location, and a simple and powerful story. It’s not just one scene, but it is still small, almost intimate. In comparison with other scenarios we have worked on, this new one turned out to be a bit different. Each of those films was a unique challenge, of course, telling different stories and trying to do it in new and surprising ways, but in general, my team and I have been working with this character and this world for so long that it feels like just another part of our lives now.
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Well, we have worked on quite a few films for THE WITCHER series already, so it actually felt a lot like coming back home. What was your feeling to be back in The Witcher universe?
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I also worked on bunch of special projects for TV and theater. I also created four short films, including the Oscar-nominated THE CATHEDRAL and FALLEN ART which won a BAFTA award. Since then, I’ve worked on hundreds of projects, first as an animator, and then as CG Lead and director. Prior to joining the company I was in college studying architecture but eventually I decided I want to focus on animation and filmmaking, so I went ahead and followed this career path instead.
I have been working at Platige since 1998. They have explained their work on THE WITCHER 2 and CYBERPUNK 2077, now they talks about the creation of the teaser for THE WITCHER 3: WILD HUNT. The Platige Image team is back on The Art of VFX.
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