a.k.a. that time when Netflix took on Lemon Snicket in a gothic, gloomy aesthetic that taught us the true meaning of the phrase ‘the devil is in the details’.
“Getting to work with an industry giant like Netflix was definitely a turning point for our studio, and our entrance into the world of multi-million TV show budgets with quite a bit on our plate.
We were in charge of a couple of assets, the leech-like creature that attacks the children in the middle of a lake as well as the lake environment that was done from studio shots, including the sky, night sky and surrounding water. Another asset we developed was the environment of the school, which was supposed to emit an eerie, heavy spirit, almost like a cemetery, to communicate the hardship of going to school.”
Cassandra, VFX production manager
“Even though it was one of the most technically demanding work we’ve ever done, A Series of Unfortunate Events went by like a breeze to me. It hit the sweet spot between difficult and exciting, and with the added thrill of racing against time, it still remains one of my favorite work here at Crater.”
Dragan, match move artist
“All of the assets done for A Series of Unfortunate Events were based on concept art provided by the client, and the aesthetic demands were something completely different to what we were used to working with. The scenes were to have a theatre-like quality and almost look staged, which is not really a usual request in our profession.
At the same time, the client expected an unparalleled level of detail, which meant we really had to twist both our technical and creative muscles to match our result with the desired outcome.”
Nikola, senior digital compositor