We chat with TheWitcherBloodOrigin's VFX Supervisor Sébastien Francoeur and producer Graeme Marshall about FXRodeo's approach to visual work, the fun of creating new monsters, and TheWitcher franchise's future:
Explore the origins of The Continent and some of its inhabitants with The Witcher: Blood Origin. Set 1200 years before the events of the Henry Cavill-led series, the story revolves around three downtrodden elves forced to team up on a quest in order to redeem themselves and put a stop to the impending downfall of the kingdom of Xin'trea.
As far as learning about Lark, we kind of rolled right out of season 2 of the Witcher into The Lark, which was the working title. It was pretty much just business as usual for us, it's the same world, it's the same lore, it's the same sort of grittiness.
Graeme Marshall: For The Lark, I think it was still in the pandemic. I don't know how many waves we had, but it was in the waves of COVID, so travel was still kind of restricted and stuff like that. Even on this, on the production side, they were strict against non-essential personnel from going on set, because I know they had pretty heavy COVID protocols on their side as well.
Graeme Marshall: Yeah, I think that was what it was called, like the land shrimp, or something like that. Graeme Marshall: The other thing that the showrunners really were worried about was the creature getting too close to Éile. So, when we were in animation, they wanted us to make sure that it was like almost, I'm gonna use the word clumsy, but that's not quite what we wanted. They wanted it to be kind of awkward on land, so that we could sell the idea that it didn't get her, so that was one of the story points that they wanted us to hit with it.
Graeme Marshall: Yeah, a lot of the creatures that we've seen during the series have all had — I mean, if we think back to The Witcher, the Myriapod that we did, the there was a lot of inspiration from praying mantis and, again, crabs and stuff like that. That's why we had those weird kind of four legs, but then they also had the creepy kind of hands as well. So their creative team definitely likes to take inspiration from nature and then make it super gross.
Graeme Marshall: We have friends that did [the Arid world], but just we weren’t involved in that. When we get a show, there's obviously the schedule and we have to take pieces that are logical chunks and pieces that we can do within the time frame allowed, that's kind of how it works. That's a large reason why franchises like this, especially, break the show into chunks, and they give a certain environment, or a certain creature, or certain work to a studio to take to finality.
Sébastien Francoeur: Also, we were talking about planets collapsing, and then the idea came about aligning them, then we thought maybe they should eat each other, but that felt like destruction. So, we went over more about energy transfer, the planets are lining up, there's some energy transferring from other worlds and then we're kind of merging them.
Sébastien Francoeur: Yes, I really inspired myself on Doctor. Strange, because that was one of the first ones to open portals. See the thickness between the world, see those openings, but that's not what he wanted. That's what we realized in the beginning, because I was looking to those as references, I had the tendency for black holes opening with a thickness. Now, it’s a little bit more simplistic and more poetic than something physical.
Graeme Marshall: From first iterations of a really early visualization that we sent them, because on their side, it had been a conversation, there's a very clear idea verbally from their side of what they wanted and it was about all of us getting our minds together in the lining. I think that that was pretty much the duration of the show, we started from pretty much day one talking about how this was going to work.
The Witcher source novels and video games have such a breadth of monsters and creatures to pull from. You've both mentioned that you've had discussions about the future of the show. Are you fans of either source material, and if so, is there any one monster or creature that you're really hoping to get to bring to life?
Graeme Marshall: We were referencing pretty much one for one some of the magic, and they were like, “No, we can't, we don't want to go down that road.” I think there's a lot of fans of one or the other and you don't upset one without doing something that the other likes, etc. So, they were very careful about keeping it true to the lore, true to the realm, true to the Witcher.
As far as season 4 is concerned, we haven't really gotten too heavily involved just yet. But with season 3, we're in the throes of delivering the final couple of episodes on that, and it's super cool. I don't think it's anything that anyone's read or seen before in Witcher lore, so I think it's gonna be exciting.
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