When and how did you become involved with the Troll Hunter project?
We've worked with the production company, Filmkameratene and their lead VFX supervisor, Marcus Brodersen on several successful projects before the Troll Hunter, so are hopefully included on the A list when it comes to who gets to do quotes on their projects. This former successful cooperation also made it possible for the animation to be done outside Gimpville by two great animators, Atle Blakseth and Nina Bergstrom without too many issues regarding the pipeline. (We did everything up to and then after the animation.) The animators used data recorded at our motion capture studio as a reference and sometimes as a base for the animation. I understand that this was a great help to them.
It was never an option for us to take on all the VFX shots by ourselves, as this would have been an issue in regards to capacity. I’ve seen too many companies grow too quickly and fall hard afterwards in this industry. So when we were asked to do a quote on the biggest and baddest troll we got very excited! The scenes with this particular troll was also deemed the most challenging.
What are some of your past projects?
Since the start in 2002 we've been involved in more than 500 projects, mainly doing VFX and 3D animation for the TVC market. But there’s been a shift and in 2011 I think the amount of VFX work we do for the movie industry might surpass that of the TVC industry.
The biggest stuff we've done so far is perhaps VFX to the opening sequence of the Eurovision song contest 2010 which consisted of perhaps 80% VFX shot and was seen by some 120 million people. We also delivered the simulated data for the real-time solution which introduced each country during the show.
One of our other biggest gigs was VFX for the movie Max Manus, which was a huge success here in Norway. It was seen in the cinema by as much as a quarter of the population.