Platige Image is one of Poland’s top studios specializing in post production, visual effects and animation, with over 15 years experience in the advertising and film production field. Their expertise in the field has brought Oscar and Emmy nominations, and has awarded the BAFTA awards, Siggraph and Annecy.
Platige Image is known for its successful short films as „Katedra”/ „The Cathedral” and „Historia Polsky”, directed by Tomasz Bagiński.
Two years ago they have worked at the visual effects of the renowned film Melancholia, by Lars von Trier.
Their new projects are „Another Day of Life” and „Hero and The Message„.
I am eager to see the first animated feature film made by Platige Image.
Damian Nenow, director at Platige Image, was interviewed by animationmagazine.eu.
What’s the standing of Platige Image in the animation industry?
Platige is the biggest and most experienced animation studio in Central Europe and our work has met with international acclaim and recognition. We are lucky to have the best Polish artists on our team and we’re working constantly to turn it into a truly international collective.
How many projects have you done since the studio was established?
In our beginnings we were focused primarily on commercials. It’s kind of difficult to make a full count, but we’ve done thousands of commercials, a dozen of VFX projects for feature films, and something like 50 different kinds of art projects, from shorts to interactive installations. I guess that’s the right name for it.
How many people work at Platige Image?
Platige is a team of 150 artists supported by an administrative staff of about 60 people.
Are you planning on setting up Platige Image studios outside Poland?
It’s already done. We have an office in New York and we have a strong presence on the Brazilian market due to our cooperation with the award-winning AD Studio from São Paolo. We are currently working to explore and establish a foothold in new markets like Qatar.
What are you working on now?
We have a lot of projects underway but our most important ones include “Another Day of Life” and the second part of an animated feature film for a Qatari client.
What about future projects? Have you given any thought to making animated feature films as well?
Our goal is to develop our own IP content.
What is your opinion on the state of European animation?
We just came back from the Annecy Festival, where we found a diverse host of projects, approaches, and ideas which have a very high chance of being supported by the EU. And that’s what’s great about European animation. But there is still so much we could learn from American animation studios, like Pixar and Disney. They represent a completely opposite approach – they’ve been working in the same way for years, they’re nothing if not consistent and very hard-working. We think the way to success lies somewhere between the two approaches.
What can you tell me about contemporary Polish animation?
It’s doing well. We inherited the avant-garde spirit of our predecessors working in the 1960s and 1970s, and we share their passion for art. This spirit is what prevented us from ossifying into classics as in Poland we are constantly looking for revolutionary ideas and solutions in animation…
Aside from a few major studios, there are a lot of small companies who are very ambitious and try to break through to the big leagues using solely their creative force.
