Makinarium in its essence is a factory, a group of artists in the first place before being the technicians.
The development of visual communi-cation is at the base of design of any kind of effects. The visual illusion always comes from a good revisualisation.
His approach to the cinematographic work by any director, be it a screenplay writer, visionary or as the service to the almost ready-made commercial product, it is always the same rule: try to understand the art.
Thus, it becomes so essential to offer any client the first concept of the work pre-visualised with each technique possible from the most classic to the most innovative.
Powered by the Italian artistic tradition which goes very deep with its roots, we do give a strength to the presentation of the projects to convey the stylistic of our vision.
Coordinated by the established supervisors, the group of designers, graphic and digital artists, can show their heir solid technical and artistic skills working on the realisation of the sketches.
Most likely the strong point in Italian training is the one of the strength of the Fine Arts Academies spread throughout the country thus allowing continuous supply of young artistic talents.
It becomes important not to exclude any form of expression and no technique of a film preview: from pencil to painting and from graphic palette to 3D.
Hence the idea of integration of the techniques used by Makinarium to obtain its personal style of special effects originates from the integration of pre-visualisation techniques.
The pictorial style, more or less realistic of all that what will be created then in the magic of the film can not do without a reliable design beforehand.
The first step is exactly the one that allows to reproduce the flavour some possible way already from the first sketches.
So very often the art of Makinarium at the conception stage of the work appears as a series of frames and paintings that summarise a series of graphic and digital techniques.
But not only: sculptures model maquette, graphic designers create sketches and graphic tables, digital modellers recreate creatures and characters’ concepts in ZBrush and 3D programs.
Then techniques alternate each other.
With digital graphic programs we begin to create more complex works with a style that should always reproduce all the essential details.
The matte painting, the creatures or the entire sequences come from the work on concept art which is continued by its artists at every stage of the film development.
Makinarium now, as always, continues to experiment with various techniques of concept art useful at every stage of the process of pre-visualisation and development of a film.