It was 2010 when Polish animator Tomasz Baginski, a visual artist and visual artist, encouraged his friend Andrzej sapkowski to make a movie. Tomasz Baginski’s work in animation and graphic design is well-known. Baginski, who was nominated for an Academy Award in his short film “The Cathedral”, had ambitions to adapt Sapkowski’s fantasy novel series “The Witcher“. Sapkowski is the creator.
The Witcher is a Magical Showcase
Platige Image, a Polish company that specializes in animation, visual effects and post-production, was among the first to support the project. Bagiski joined the firm in 2004. The streaming service brought in Hivemind to be an executive producer, which is based out of Los Angeles, as soon as Netflix announced its intention to buy the rights to “The Witcher” 2017.
Special effects were also handled by the Polish studio. The Emmy nomination was made for the Polish studio’s visual effects work on the show, which went on to be one of Netflix’s most popular shows.
Platige Image has seen “The Witcher” be a huge success, and it has been a boon to the growing visual effects and post production business in Poland. The pandemic has prompted a surge in demand for remote post production and visual effects work from Eastern European countries. As businesses try to make up lost time due to COVID-19, this is a part of a global rise in production.
According to Karol Bikowski
“There is most certainly a greater quantity.” Platige Image CEO Karol Bikowski said, “It’s really noticeable.” “The current market is really active.”
The country’s economic transformation has been aided by a surge in Polish production thanks to Netflix and other streaming services. Netflix, a streaming giant headquartered in Los Gatos (California), announced earlier this year that it will be releasing 18 original Polish television series and feature films. The company is also opening its new Central and Eastern European headquarters, which will be located in Warsaw, Poland.
Kamil Rutkowski is the CEO of Black Photon, which is a Polish post-production company. “When Netflix came into Poland, they forced people learn new things.” The streaming service set a high standard for technical quality and offered free training to local studios. It also assisted them in adapting their workflows.
The Witcher Netflix arrived in Poland
Rutkowski believes Netflix is the most influential company in the teaching of the industry. “The industry has grown at a rapid pace in terms of skills over the past five years.”
This is why the Polish Film Institute will introduce a $50,000 cash prize at the U.S. In Progress this year. U.S. in Progress, which is held concurrently with Poland’s American Film Festival, presents approximately six American independent titles currently in final stages of production. This year’s event will be held in Wroclaw (Poland) from November 9 through November 11.
The PFI prize will be awarded to the winner filmmaker and will include cash prizes of $10,000 and $10,000 in-kind awards from top Polish post production businesses. It can be used to produce, edit, sound and/or visual effects work in Poland. According to Radoslaw Mikulski, director of the Polish Film Institute (PFI), it is a step towards “encouraging small- and medium-sized independent [foreign] producers get to know us” and to see what we have to offer. Mikulski mentioned a 30% cash rebate that can apply to any post-production work in the country.
Poland’s film industry
Poland’s film industry has a rich and long history. The country’s cinematographers have worked hard for high standards for many years, thanks to a strong guild. Uwe Ceranka is a partner in Warsaw’s Fixafilm, as well as the director of their digital restoration department. Cervenka heads the department of digital restoration.
To restore works by Orson Welles and Andrzej Wajida, the company has worked with institutions like the British Academy of Film and Television Arts and New York’s Film at Lincoln Center. Dario Argento and other directors have also been restored by the company. Cervenka claims that Fixafilm was also one of the first Polish post-production houses to adopt the Academy Color Encoding System. ACES is a color management program that has become industry standard for controlling color during production of television programs. Cervenka claims that Fixafilm was the first Polish post-production house.
American film maker Joe Sackett visited Fixafilm
American filmmaker Joe Sackett won an in-kind award from the U.S. in Progress 2020 event. He went to Fixafilm to do post-production work on his first feature film, “Homebody.” This year’s Inside Out 2SLGBTQ+ Film Festival in Toronto awarded “Homebody” the best feature. After winning the award, Sackett went to Fixafilm to do post-production work.
He said, referring to both the festival DCP and the film’s titles, credits, “They basically left the door open for them to let us know what we wanted.” “I knew they were there for us when we were in the final stages of post-production. They would be there to help us.”
Post-production companies around the globe have been able to benefit from the epidemic. However, the competition for the top visual effects artists has become increasingly fierce as more studios are open to outsource their post-production work. Bikowski claims that this competition has led to an increase in prices for goods and services in Poland. Poland is a country with low production costs and salaries.
Polish “Star Wars” and “Avengers”
Even though there are always more post-production companies entering the market, there is still an issue with capacity that could potentially limit the sector’s growth. Rutkowski is the first person to admit that filming “Star Wars” and “Avengers in Poland would be difficult. He says that there aren’t enough people skilled in character animation. However, he adds that the videogame industry is attracting many of the most talented visual effects artists in Poland.
This issue is a major reason why the education and development of Polish artists needs to be overhauled. Alicja Gancarz is the director of Orka, one of Warsaw’s most successful studios. She stated that there is not enough education available for those who want to work in the post-production sector.
Rutkowski created the Polish branch of Society of Motion Picture Engineers because he was “searching to find information” in Poland. This trade guild sets standards for industry training around the globe.
The Witcher Visual effects artists
While expanding operations is the best solution, it is not easy to do so. Training visual effects artists takes time. Bikowski says that it is impossible to fill the void in so little time. Platige Image has grown its staff in Poland and opened a Los Angeles studio. It is also constantly seeking out talent at industry events and conferences around the globe. Platige Image currently has around 10% of its workforce from other countries. This number is expected to increase.
Bikowski says that the greatest problem is not finding suitable projects, but rather in identifying appropriate people. He laughs. This is not a problem.