If you really want to have your mind boggled, then head over to Jonkajtys channel. Grzegorz find work Jonkajtys Polish animator, climbed some of the most amazing animated movies are likely to find anywhere. Displaying movies (ARK, Legacy and Mantis) is surprised by the development of computer animation technology. These films, along with the amount of detail that went into them – inside the ship in the ark, the complex lighting effects Legacy – is a testament to what a careful process of this kind of work really is. For his part, seems to enjoy Jonkajtys laborious part. In fact, the later the better. Now based in California, Greg spoke with Open Movie about the films he has worked with: both after hours of material indie and big budget Hollywood stuff. Hi Greg! Tell us about your education, and what you were working before starting the short filmmaking. I was born in Poland, where I lived for 30 years. I studied at the Academy of Fine Arts Graphics, Warsaw. After college, working as a graphic designer and illustrator, who was leaning toward so-called "new media" – Internet and interactive CD presentations. These media require any animation, if there was a spinning logo or a blinking light. These parts of the business always fresh design to create, but I wanted to add more soul, more personality and history of my little animation. In 1999 I decided to create my first animated short, Mantis. I learned everything: How to write a story that would be suitable for a short film, how to design my characters, how to build, rigging and animating, how to create 3D scenes, lighting, editing, etc. chunks knew before, but here I have struggled with more than 5 minutes of animation and was not easy. It took nine months. I made this animation for most of my Mac, using software called Cinema 4D. What software do you use now? For the animation, using a variety of software packages such as Softimage XSI, LightWave, Maya, 3D Studio Max, who does not really matter. After all these packages offer fairly similar tool kits for the animator. What I am trying to create my animated film is to mix the real models, miniatures, with CG animated characters. That's how we did ARK, is how did Legacy. I built miniatures, light and shoot them. After filling these dishes with CG characters. It adds more realism, and makes it more credible. ARK feel epic but less than eight minutes long and has only a handful of scenes. How do you think of the story? It began with the striking visual of the Christian catacombs of Rome. The fascinating labyrinth of underground passages reminded me of the interiors of large closed vessel for transporting any persons, half dead, half awake. . . It was the biggest visual inspiration. From then on, he was developing the story. The final twist at the end of the film was written after the production started. Do you enjoy writing process? In fact, usually write a lot of raw ideas, and jump to the animatics. Because very soon you can view the story, with pictures very rough, low quality of some audio samples, and editing, which tend to immediately create a sequence, rather than go through iterations of written history. Even with the dialogue, I want to register myself, and put it directly in the moment and mixes with the sound, editing, etc etc ARK took three years to implement and movies in general, often costs a lot to do. As a filmmaker, how do you keep the fire? Well, when you believe in your story, you know, just that the process is slow and painful to create. And with the animation – especially after hours of animation side project – not easy, but doable. What helps to have a friend who believes in the project, and if this friend is an executive producer, which also helps. In the case of the ARK, the producer, Marcin Kobylecki, my good friend, was an indescribable relief and inspiration to me. I must say, I like the long-term projects. From the university, the mission had lasted longer. If there were a series of paintings, or a series of posters, I take my time and ideas developed over time. Usually jump in production of the original idea, at once, and then refine, change and how I go. It makes the process more interesting, and I think the end result is better. What films and other references used in designing the look of his films? Spielberg's AI seems to be a clear criterion … In fact, the AI is not the movie referenced in any way. I loved this movie, but in the case of sheets, I was more inspired by Ridley Scott, Alien and Blade Runner is the main source of inspiration, especially visual, of course. Portrait As for character design was amazing Daniel Lee my main inspiration. The idea of using miniature games were affected by the films of the Brothers Quay short. OK, some questions of film geek. He has worked as an animator of some really cool effects-driven films. How was working with Guillermo del Toro on Pan's Labyrinth? To work in Pan's Labyrinth was a great experience. I was responsible for most insect CG shots, plus some animated tale, and a pale man CG monster extension. Guillermo del Toro was very clear on what he wanted in the appearance and performance. It was a real pleasure working with him, because he only knew what he wanted. I'm a big fan of The Mist, Frank Darabont, who has a very eerie FX. What scenes were you responsible? I animated most of the large insects, but also some scenes with the little dragon, the beast, and the media in the parking lot. Some pictures of spiders was fun to create as well. CafeFX was the sole provider of visual effects, and we had good communication with Frank Darabont. Some users report that the hero of the ARK is like Spock. Was that intentional? The similarities with Spock actually unintentional. What I wanted to achieve is a Pit Bull looks. However, I welcome the comparison with Mr. Nemoy with honor. Where do I go from here? I'm working with two short, live action called 36 steps, and lively – House of Mirrors. I am also developing a script for a movie called El Rey de las Nieves. 36-Stairs, I collaborate with my friend, producer and director, Philip Koch. It is a very simple story, set in a kind of anti-utopian world in which moral decisions of individuals are strongly affected by bureaucracy and insurance. (Sound familiar?:) This is a bit of a science fiction project, but particularly in drama / thriller genre. All this, of course, after regular working hours. From 9 to 7, I like a lot of work at Industrial Light & Magic in San Francisco in a series of big budget movies, visual effects creation.  Read more...