But all of us had already done some professional internships and we tried to bring everything we learned to achieve what we wanted. It’s almost like if we had to learn everything again or at least transpose the techniques we knew. We had to adapt the animation, the lighting, the way we were doing the fx and the compositing. We knew that we would have to learn new stuff through the production, because we had never done crowds before, and almost all of the film is underwater, and that changes everything. After that we went quickly to a previz stage to lock all the key moments of the film and try to avoid redoing the same shot or sequence multiple times. We did early tests and RnD of everything at early stages to be sure it was doable. (FB) We tried to be careful on the time spent on each production stage, and we tried a lot of different things at first to find the ideas and the look we wanted. How did the team manage with such a tight schedule? You only had nine months to complete the whole film. We wanted the audience to be entertained visually in order to connect to the grave subject of the film. (RT) It is a story about evolution and the way it is being profoundly affected by the human action, showing that our ever-growing unawareness towards pollution is taking root deeply into nature, irreversibly. What story did you want to tell and how did you want your audience to feel? He shared this experience with the rest of the team and it drove us to create a short film to denounce this change. Every time he would spot something shiny buried in the sand thinking it was some interesting form of life, it turned out to be a bottle cap instead, igniting the first spark which inspired the film. As time went by, he noticed that there were fewer fish and more trash. He used to dive to gaze at the underwater animals. (FB) The idea came from Romain who’s from Cannes in the south of France. How did you come up with a story and theme that you could all connect with?

Substance painter to arnold 5