Platige Image Talks Animation & VFX
In the meantime, I met a young graphic artist, Kuba Jabłoński. I saw he was good because he worked in several commercial projects that I did. I had this devilish idea. I sent him the materials from The Kinematograph concerning the characters and I told him to have a look at the project and then throw them all into the bin and suggest something completely different. Two years made me realize that the only way for the film to appeal to me again is to give up the comic stylistics and create a completely new style for the film.
Kuba sent the first drafts and that was when I knew that it was a good decision and several weeks later the production started again.
BD: What were some of the most difficult challenges?
TB: There were quite a lot of challenges. It turned out that the film cost three times more than I initially assumed. This was not a problem related either to the technique or art, but it influenced work process and stress level.
When it comes to the film itself, the opening scene was certainly a great challenge. Its length, the camera and character movement choreography, the number of elements on the scene and a huge difference of scale caused us a lot of problems. This was one of the takes that we started first and finished last.
TB: The basic tool that we used for the film was 3ds Max, in which we integrated scenes and carried out rendering, but we used a whole array of programs. We used MotionBuilder for animation. For modeling, besides 3ds Max we also used Maya and ZBrush. For clothes simulation we used Maya. Photoshop, where we created backgrounds and textures, was also an important program. After Effects was our choice in compositing. We also had a wide choice of our own scripts and plug-ins to make work more efficient together with our own point renderer for particles.
BD: Turning to Antichrist, what was it like working with Lars Von Trier?
Jakub Knapik: Well, it was very interesting. The legend that comes with that name brought a lot of energy into the production. From the first moment we saw the script we knew: this is controversial. But we believed that later on the movie would be softened a bit during the production. Well, it was not. From the point of view of the production, Lars Von Trier is very, very detailed in his comments. He knows exactly what he wants from the shot. Sometimes we even got some sketches like in the shot with the fox gnawing out his guts. One star shot had about 20 versions just to get all the stars right. On the one hand, it's very time-consuming to create so many revisions; but on the other, it gives you the feeling that That Man Knows it all and knows where we are all heading. You feel safer.
BD: What kind of effects did you create?