Interview with Nicolas Crombez

Besides a key light and a sun, most models were lit to create a light-type “studio”. The rim light effect allows separating the subject from the background. This technique has been used so sparingly because I did not want to produce on the picture, an “advertising” effect.

Each part of the picture was calculated separately with FPrime. For each, I set the camera according to several angles to choose what would suit me best when compositing. Not being a fanatic of “flying camera” or “endoscopical shoot” I’m more impressed by the sequence shots of Kubrick or those of Alfonso Cuaron for “Children of Men.” The camera has a role in the narrative; it does not replace the story that captured a plethora of visual effects or motion. I didn’t want to interfere in the course of history. The camera is present as a witness, as if, on the other side, I noticed the facts that happen to me. This fits so perfectly with the introspective nature of the music I compose.

Finally, the most important and longest in terms of time is the work under Photoshop.

The whole picture, with few exceptions, was reworked: animal’s fur, clouds, some plants and a lot of work for cleaning and harmonization of the whole. The picture was assembled at one time under Photoshop to ensure the homogeneity. The file weighs more or less, 15 gigs and I had to make several copies for the increasing number of layers significantly slowed the computer.

Since the beginning of this project, my main anxiety was to find a way to present this image in its original format. While researching on the net, I found the tool Openzoom by Daniel Gasienica.

With this application, the picture is divided into thousands of 256 pixel images large, called by a powerful script in Flash, depending on the zoom done.I would also print this work and present it in its entirety at an exhibition, which is impossible to present on a classic screen.

You can watch the panorama on the web here: www.deuterror.org/dtr.html