Simone // We carefully planned every step of the way internally together with all department leads and supervisors. Daily sharing and detailed communication among departments and leads, mutual supports among all components, long conversations between the supervisors, on a coffee in the morning or on a beer (or more!) in the late evenings, after work. How did you organize the work at Trixter?Īlessandro // Team-playing is the key word, I believe. Obviously, per se, the raw number doesn’t tell the whole story, there are many factors playing an essential role, above each I wish to mention the extremely tidy and organised approach this production has had, from the client side and internally as well. We can handle more, of course, but this amount allows us to dedicate to every shot and detail what it feels the right amount of care and dedication. How did you approach a show with so many VFX shots?Īlessandro // For what Trixter is today, I could say about 300 shots represents the production sweet-spot, if you pass me the term. The main sequences are those taking place on Contraxia, at the lost Ravagers’ hide out called Iron Lotus, where Yondu encounters Stakar and Ayesha the one on Berhert, in the forest at night, after the Milano’s crash landing, where they sit around the camp fire and where Rocket sets an ambush for the Ravages but eventually gets captured and the crazy psychedelic quantum space hopping sequence, where Yondu, Kraglin, Rocket and Baby Groot travel up to Ego. I reckon this definition still applies.Īlessandro // We have worked on three main sequences and a few bits and pieces for a total of about 300 shots.
A few years back I defined him like an orchestra conductor, intimately knowing the sheet music and those who have to execute it. I believe he knows, among other things, who can deliver what and how, he knows his vendors and partners so he maximises the cooperations. He’s his a supervisor who doesn’t make you miss his trust, he knows your performance is directly proportional to your confidence. He always allows us room for loads of creativity which makes us really feel like being part of the filmmakers.Īlessandro // As Simone said, it’s not the first time we have worked with Chris. His team is always very organized and they create an efficient and flexible workflow and give us very fast feedback. He is always encouraging and inspiring and a pleasure to work with. Simone // Chris has been our fearless leader and partner in crime for many movies. How did you work with VFX Supervisor Christopher Townsend? Some might argue his images look almost baroque, given the saturated palettes and the richness of elements and details, I say they are exactly what this story, this movie, needed. As matter of fact, in some cases, we found ourselves, after having built a complex effect or image, deconstructing it and discarding those distracting or redundant elements to eventually bring it all back to an essential, almost linear, readability. He wouldn’t indulge on fancy effects, although eye-candy, if they weren’t fitting the exact situation or moment he had in mind to tell. What was his approach and expectations about the visual effects?Īlessandro // I guess, it was like it should always be: at service of story telling. I loved that it could never be too crazy or too funny. He has always been there for us for briefings or questions and was an absolute pleasure to work with.
He’s a true filmmaker who encouraged us to come up with our ideas in many different ways. Simone // Very inspiring he is a very hands on director, he knows every single detail of every second of his movies. From this point of view I’ve learned a lot, it felt like a real privilege.
GUARDIANS OF THE GALAXY VOL 2 SOUNDTRACK SEQUENTIAL ORDER FULL
I’m one of the many fans who loved GUARDIANS OF THE GALAXY, and I wished ever since I could one day work with him, discover his approach to work, so full of humour and at the same time so meticulous, follow from close his smart way of making movies. How was this first collaboration with director James Gunn?Īlessandro // It was exceptionally intriguing. With Simone, they explains their work on the GUARDIANS OF THE GALAXY sequel. In 2016, Alessandro Cioffi told us about the Trixter’s work on CAPTAIN AMERICA: CIVIL WAR. She is at the head of the Los Angeles office of Trixter. She is the co-owner of Trixter and has worked on a large number of projects such as CLOUD ATLAS, THE AVENGERS, IRON MAN 3 and the CAPTAIN AMERICA trilogy. Simone Kraus has more than 18 years of experience in animation and visual effects.