Press Releases - Platige Image - Platige Image Press Releases at en-us Copyright 2019 Platige Image shows the many faces of post-nuclear Russia in ‘Artyom’s Nightmare’ - a CGI Animated Short for Metro Exodus From the claustrophobic tunnels of the Moscow underground, through a frozen city, to a radioactive desert – Platige Image's trailer for the video game Metro Exodus takes viewers on a wondrous journey through post-nuclear Russia. Aiming to be more than an overview of the upcoming attractions, the short film functions as a self-contained story that introduces the viewers to a rich science fantasy universe.

Metro Exodus is the third game in the series based on the best-selling novels by Dmitry Glukhovsky.

“Watching 4A Games take my characters off the page and put them onto the screen has been a privilege,” said the author of the original Metro novels. “I hope fans will enjoy this new glimpse into Artyom’s world.”

The books, already recognized as modern classics, combine science-fiction with elements of magic and Eastern folklore. This combination is also a distinctive feature of the trailer made by Platige Image for the game's publisher, Deep Silver.

The Metro series puts a strong emphasis on the story, so we also wanted the trailer to tell an alluring and coherent story, instead of simply showing parts of the game. We wanted to find a way to present not only the richness of the world, but also the motivation behind the journey which is about to start. The fantastic nature of the Metro universe gave us the solution, said Tomek Suwalski, screenwriter and director of the trailer. All parts of the production process were realised by the Platige Image team - from the concept and script, through creation of all the assets, stunt recordings, animation and rendering, to the sound editing and mixing.

The trailer stands out due to its unique storyline, which allowed Platige Image to showcase various locations while maintaining continuity of action. The protagonist meets a child with psychic powers who shows him a vision of things to come – resulting in a series of smooth shifts in time and place.

For Platige Image, the challenge was to design a variety of unique locations. The studio created decrepit subway tunnels, a misty swamp, a city in the middle of a nuclear winter, a colourful taiga and even a desert. The environment retains the highest level of realism, but every location is also mysterious and seems almost magical. This effect was achieved with the use of subtle details, such as lighting or tension-building framing. The brilliant cooperation is invaluable in  projects on this scale, all the more with great support of 4A Games and participation of genuine artists. One of them is Alexey Omelchuk, the series composer and the author of original music for Metro Exodus.

Metro Exodus will be released on 15 February 2019. The game will be available on Xbox One, PlayStation 4, and PC. Learn more about its features and watch the trailer at

2019-02-07 00:00:00
Platige Image Brings Viewers to New Ice Age in the Latest ‘’Scavengers’’ Trailer Dark, frozen and beautiful vision of the future shown in the ‘’Scavengers’’ cinematic trailer is the effect of collaboration between the Platige Image studio and the Seattle-based developer Midwinter Entertainment. The project took advantage of unusual solutions in order to combine a futuristic dystopia with an artistic fantasy style.

The game is a cooperative survival sci-fi shooter set in the new ice age in the style of animated films. The trailer depicts the moment of heroes’ arrival to icebound Earth. Creating a world both fantastic and dangerous posed an interesting challenge to artists at Platige Image, as the studio specializes in digital hyperrealism, as seen in its trailers for ‘’The Witcher III’’, ‘’Watch Dogs 2’’ and ‘’Skull and Bones”.

“Our task was to build the world in the vein of cartoons, 3D or even stop-motion animated features. However, such elements as realistic snowstorm, beautiful and terrifying at the same time, had to fit there,” says Michal Gradziel, FX Artist at Platige Image.

A part of working on the trailer was creating the 3D characters based on digital models provided by the producer and used in the game. For the purpose of the trailer studio's artists had to recreate these assets, enriching them with numerous details. All the while, production time was more limited than usual.

“The trailer was made at an express pace. We had barely two months to prepare it, and the unusual form called for much more when it came to design and technology,” says Bartek Skrzypiec, CG Supervisor.

Originally the story was planned to be told in just a few shots. However, after discussing it with Platige Image, Midwinter Entertainment decided to develop it significantly. As a result, the film presents more details of the post-apocalyptic world and emphasizes the cooperative nature of the game.

The cinematic is already available on the official Youtube channels of Midwinter Entertainment and Platige Image. Playtests for Scavengers will begin in 2019 and players can sign up to be amongst the first to play the game at

2018-12-10 00:00:00
Produced by Platige Image animated short "Miazmat" has been nominated to the Siggraph Computer Animation Festival competition

Produced by Platige Image and directed by Klaudiusz Wesołowski, the four-minute-long animated short Miazmat has been nominated to the Siggraph Computer Animation Festival competition. The picture draws on the principles of the so-called “Pure Form” theory and S.I. Witkiewicz’s Composition.

Miazmat is an attempt, supported by advanced computer hardware and software, at resurrecting the aesthetics espoused by the Pure Form theory, developed nearly a hundred years ago by Polish famous painter, architect and writer S.I. Witkiewicz. Thanks to the animation and its color palette, the framing, and the editing, the picture attempts to reconstruct the chain of events that resulted in the precise arrangement of forms in Composition. In effect, the film resembles a dream, filled with vivid, hyperrealistic details that pale and flicker away after awakening.

“Actually, it’s one of the wackiest ideas I could have come up with. It came to me as I was standing in a museum, admiring Witkiewicz’s works,” says Klaudiusz Wesołowski, the director of Miazmat. “In my mind, I saw the images pictures in Composition coming to life and transforming. Soon enough, I realized that I was probably the only person in world equipped to undertake such a task—given that it would be very, very hard to locate another animator and director that would also be a huge Witkiewicz fan.”

The most difficult part of the production was interpreting the principles behind the Pure Form theory and developing an original style by which the film could set itself apart from other animated shorts. The artists behind the movie managed to accomplish that by using realistically lit spaces, inspired by coral reefs and abstract animal figures.

“Working on the film took me about six years, somewhere around 2,500 hours in total,” says Klaudiusz Wesołowski. “Getting so much help from Platige Image was surprising, because this was mostly a non-profit project, something that was borne of my curiosity as to what would happen were we to breathe life into image, freshen up the Pure Form aesthetics, originally developed nearly a hundred years ago. And, frankly, I’m very satisfied with the results.”

Miazmat has been nominated to the 2018 SIGGRAPH competition, recognizing the best international animated short films in the world. The results of the competition will be announced August 14-16, 2018. 



2018-07-06 00:00:00
Behind the Scenes of ABARTHWasteland by Platige Image and Alessandro Pacciani Do you want to know how we did Abarth Wasteland (DC)?

It wasn't a typical job for Platige Image. The team usually post-produces raw green screen footage, but with Abarth they were given a finished, fully edited live action movie. “I asked myself: what are we even supposed to do here? After a call with the director, I realized the scope of his vision,” recalls VFX supervisor Piotr Borowski. The project was realized by Platige Image for Fiat, the owner of Abarth, which is a company producing modified racing versions of the Italian manufacturer's vehicles.

The task proved unusual. Not only was the commercial shot on location and without any green screen elements, but also its original premise was pretty much nothing like the dir cut envisioned by the famous car commercial director Alessandro Pacciani. 

2018-07-05 00:00:00
Los Monsteros, a new concept developed by Platige Image Los Monsteros, a new concept developed by Platige Image


Three animated friends fighting for Internet and real-life fame. What price will they pay for fame, celebrity, and “pity likes”? Platige Image has commenced development on Los Monsteros, a scathing and ironic satire on fame in the age of social media stardom directed by Aliaksandr “Sasza” Kanavalau.          

Produced by Platige Image, the first trailer teases the thirteen-episode-long run of a new TV series called Los Monsteros. It’s a slightly acerbic tale exploring the lives of three protagonists: Boni, Sprej, and Deafian, all of whom are real-world teenagers doing what teens aged 16-19 do best—running their social media profiles like pros. Each one has a different personality, a different set of interests and passions. All of them, however, are united in the pursuit of their common goal—reaching the lofty heights of stardom.


“I thought I’d make this ironic, sarcastic TV series based around the behaviors of today’s youth, whose lives revolve around Snapchat, YouTube, Facebook, and other social media platforms,” says Aliaksandr “Sasza” Kanavalau, a director at Platige Image. “All young people want nowadays is to be famous, beautiful without a single blemish, they want to press onwards no matter what. They are unable to acknowledge failure and often abandon their plans at the first sign of trouble. And that’s not what life is about in the end.”


Los Monsteros will be replete with references to real life and life as it exists on social media platforms. The authors will tap the intersection of the two often radically different worlds for situational comedy by referencing the everyday realities of contemporary youth, yet still infuse their content with educational and philosophical overtones. Each episode is supposed to be a self-contained story with its own dramatic structure, its own theme, surroundings, and punch-lines. By giving the show a satirical character and diverse settings, the authors want to reach a target audience comprising adolescents, youngsters, and most adults.


“We want Los Monsteros to make it into popular culture vernacular, we want its characters to become genuine celebrities in the real and online worlds,” says Wojtek Stuchlik, a producer at Platige Image involved with Los Monsteros. “Exactly like the characters of South Park, We Bare Bears, and Rick and Morty first took the TV screen by storm and then captured the hearts and minds of their audiences by stepping out of the screen and into the real world. We want the show to become a platform with which to explore contemporary issues surrounding popular culture and the Internet. By mocking or lampooning the behaviors of aspiring online glitterati, we want to build an entertaining yet thoughtful story that will definitely catch the attention of not only adolescents, but adults as well.”


Los Monsteros is planned for a thirteen-episode-long run, with the running time of each episode around eleven minutes. Currently, Platige Image is developing the series for television and is looking for co-producers.

2018-06-26 00:00:00
The world premiere of the trailer for Crossfire HD—by Platige for the Korean studio Smilegate The world premiere of the trailer for Crossfire HD—by Platige for the Korean studio Smilegate

Platige Image has produced the trailer for Crossfire HD, the sequel to one of the most popular multiplayer shooters in the world released in 2007 by the Korean studio Smilegate.

The ultrarealistic film has been crafted to resemble a report from the contemporary battlefield. Using multiple cameras, we’ve managed to faithfully reconstruct in CG not only the small unit tactics but also the breadth of emotions that soldiers experience during combat.

“This is the first project we’ve produced for the Korean market,” says Piotr Prokop, Executive Producer at Platige Image. “Our collaboration with Smilegate, the studio behind the highly acclaimed shooter, was a prime example of a good working relationship. Together, we’ve managed to accomplish our key objective—to produce the film entirely in CG while still faithfully reconstructing  combat scenarios that unfold on the battlefield.”

The music video-like shots come together into a highly dynamic, realistic tableaus typical of documentaries. The soldiers are played by professional stuntmen, most of whom are former military and police combat instructors. Realistic camera work, stunning VFX, and multiple freeze-frame shots amplify and augment the narrative tension of the trailer.

The team responsible for producing the trailer included Damian Nenow (director), Kuba Jabłoński (Art Director), Hubert Zegardło (CG Supervisor), Piotr Prokop (Executive Producer), and Daria Zienowicz (Producer)


Contact details:

Maciek Nawrocki

PR Manager

Platige Image


M: +48 600 28 55 33

2018-06-25 00:00:00
Damian Nenow and Raúl de la Fuente’s Another Day of Life continues to take film festivals by storm Damian Nenow and Raúl de la Fuente’s Another Day of Life continues to take film festivals by storm—first unveiled to the world at this year’s Cannes Film Festival, the film will be one of the most anticipated releases at the 2018 Annecy International Animated Film Festival. In a press release, Annecy film festival officials called Another Day of Life “a hyperrealistic animated drama” and added that the audience “won’t leave the screening unscathed.”

The prestigious Hollywood Reporter called Another Day of Life “a visually striking piece of rare immediacy and power,” while Screen Daily stressed the emphasis that the picture put on human testimony from survivors of the conflict and praised its successful attempt to imbue the animated footage.

“Working on the film took me three thousand ‘another days of life,’ but this particular day makes up for all of them. I feel immensely proud,” said Damian Nenow, the director of Another Day of Life during the Special Screening premiere in Cannes. 

2018-05-28 00:00:00
Platige Image and Alessandro Pacciani present the director’s cut of the Abarth commercial

Postapocalyptic ruins of a city, strewn with dirt and debris, will serve as a backdrop foa disturbing
showdown between man and scorpion in the high-octane version of the Abarth commercial produced
by Platige Image and Alessandro Pacciani, the undisputed master of car advertising.

In the course of the film, just over sixty seconds long, Alessandro Pacciani paints Abarth cars as dynamic, powerful, and incredibly beautiful, while cementing Abarth’s place among the most iconic automobile brands in the world. Setting the film in a deserted turboshaft engine factory significantly contributed to the desolate atmosphere of the ruined city.

“When I came upon the facility, seemingly consigned to oblivion, I immediately felt that it was the perfect foundation on which to build the vision of devastation and decay,” Alessandro Pacciani says. “We shot everything in natural lighting and the whole crew had to wear protective gear, mostly masks, because we were surrounded with very toxic materials. The moment when our protagonist encounters the scorpion is a direct, highly suggestive reference to the brand.”

The Platige Image team handled postproduction and complex VFX shots that built the distinctive mood of the film—crafting everything from rusty wrecks and ubiquitous dirt and debris, up to vegetation wrapping the abandoned structures in its vibrantly green embrace. “We had three months to deliver the VFX. This meant we had time enough to properly craft visual effects and polish them up so as to make them nearly indistinguishable from reality,” claims Piotr Borowski, CG Supervisor at Platige Image. “The project, however, was not without its challenges. Some brief, barely 12-frame- long shots featured a couple of hundred of objects and effects that we had to take care of. The ad itself is very dynamic, and features a number of telltale Alessandro techniques, such as the camera quickly shifting between positions, focusing on details only to pull back to wider shots, and so on. But we’ve been able to handle everything the project threw at us.”

Alessandro Pacciani is one of the top directors working in the automobile advertising industry. His work often blends top- notch VFX work with blockbuster-grade film production. In the last decade or so, he’s worked with brands such as BWM, Mercedes (including its AMG brand), Ferrari, Porsche, Audi, Jaguar, Ford, Jeep, Subaru, Nissan, Toyota, and Honda. His work has also garnered him industry recognition and a number of awards, including the prestigious Best Commercial Film award at the London Motor Film Festival for his film “Beginnings” produced for the Acura NSX. 

2018-05-14 00:00:00
Platige Image CG Reel CG Reel is the montage of the most interesting projects of Platige Image. Watch samples of our cinematics, commercials, animated films, VFX from live action movies, short films and special project we realized for public organizations.

Edit: Wojtek Jagiełło
Grade: Piotr Sasim
Music: "Infinite"
Music composers: Rupert Vyvyan Kenrick Pope, Daniel Knight 

2018-02-26 00:00:00
Total War: Three Kingdoms Platige Image has released initial cinematic for upcoming strategy game Total War: Three Kingdoms, which takes the historical series to 190 CE China and focus on the Three Kingdoms period.

Total War: Three Kingdoms is the next major historical strategy game in the award-winning Total War series by Creative Assembly and Sega Europe.

"Three heroes, sworn to brotherhood in the face of tyranny, rally support for the trials ahead. Scenting opportunity, warlords from China’s great families follow suit, forming a fragile coalition in a bid to challenge Dong Zhuo’s remorseless rule. Will they triumph against the tyrant, or will personal ambition shatter their already crumbling alliance and drive them to supremacy?
The crucible fizzes. Allegiances shift. The fires of conflict stoke opportunity. Only one thing is certain: the very future of China will be shaped by its champions". 

2018-01-17 00:00:00
Platige Image for Audi Cup 2017 Platige Image produces the pre-match ceremonies for Audi Cup 2017! It's yet another high-profile football tournament for our Platige Events team. This year it will be FC Bayern München, Liverpool FC, Atlético de Madrid and SSC Napoli that will participate in the games. Audi Cup 2017 will take place on August 1-2 on Allianz Arena in Munich. Let’s celebrate it together! 

Learn more: 

2017-07-31 00:00:00
It pays out to be original in the world of digital copies. Behind the Scenes of Watch Dogs 2 Reveal trailer and TV spot For Watch Dogs 2 trailer and TV spot, Ubisoft chose to partner up with a Warsaw-based studio Platige Image. The reason was that the studio had not only the technology, but also an idea how to use it.

High-Tech vs High-Concept

„Technology is something you get from a store. Everyone has it. If you want to stand out, you need to take it and do something different”, says Damian Nenow, the director of Watch Dogs Reveal Trailer.

It only takes a look at Platige's record to understand this isn't just Nenow’s personal approach. From the Oscar-nominated short The Cathedral, and VES award nominated Paths of Hate, through visual effects for Lars von Trier's Melancholia and Antichrist, to spectacular cinematics for The Witcher games, the studio became known as a one-of-its-kind hi-tech powerhouse or art.

When it came to choosing a studio which would produce a trailer for Watch Dogs 2, Ubisoft had already been familiar with Platige. The two companies have worked together on the reveal trailer for For Honor, which scored millions of views and built the hype for a completely new IP. The trust was already there.

Ubisoft had a general idea how their trailer should play out and feel. They sent Platige a ripomatic - a montage of stock footage clips shaped like what they wanted to see. The crew’s job was to polish the mock-up and turn it into a high-quality animation. And so they did, starting with the selection of scenes that wouldn't make it into the trailer.

„The ripomatic had around 120 shots, mostly showing the city and establishing its atmosphere. We just couldn't replicate all of them on the deadline and budget we were given”, says the director. „Some had to go, and at the same time we wanted to add scenes that would show more of the game's heroes and tell a story”.

The idea was to have 80% of shots that set the mood of San Francisco, and 20% of Marcus-centered action. As for the visual style, Nenow – apt in controlling virtual cameras, as evidenced in his animated short Paths of Hate – wanted to channel the vibe of 90s' music videos. The trailer was meant to be a fast-paced amalgam of colorful, dynamic shots.

It Comes Together In Editing

The script was as bare bones as it gets - a general outline of what happens. The crew set up the motion capture stage and shot whatever they came up with. The goal was to have plenty to choose from in the editing room. Eventually, the trailer was cut from almost 4 hours of footage.

Performances, provided by students of Warsaw Film School, were mostly improvised. The director wanted to put as much life and energy into every scene as possible.

„We even hired a pro BMX rider and mo-capped his stunts”, recalls Nenow. „It looked stunning – you rarely see things like that in animation – but it didn't make it into the final cut. At some point we realized there were no BMXs in the game. Well, maybe next time”.

On the set, the crew used a rig with digital and virtual cameras – meaning they could film their actors in motion capture suits and, at the same time, see the shots recreated in digital environment.

„We targeted for a handheld look, with camera shaking in an unpredictable way. It adds not only a dynamic feel to the action, but also a layer of realism to the CGI – one you can't achieve if your camera moves on a virtual track”, says Nenow.

It turns out, however, that photorealism is a tricky issue, and achieving it isn't always the right thing to do.

The Right Amount Of Realism

Although Ubisoft gave Platige the access to 3D character models, the crew used them only as a reference point. Everything had to be built from scratch in order to achieve the targeted quality. Details were meticulously preserved to match what players are going to see in the game. The general look had to be consistent with the style defined in the game's „bible”, which also was handed over to Platige.

„We had to specify which landmark should be seen, how large should it be in particular shots etc.”, says CG Supervisor Tomasz Sawiński. „People use to think that, since we make the trailers, we know everything about the game, but at the time it was still in development, far from being finished. Everything had to be consulted with Ubisoft. We managed, however, to meet their expectations pretty quickly, so there weren't that many changes”.

A lot of work went into creating the locations. The game is set in San Francisco, so the crew had to build large parts of the city. They didn't have enough time to go location scouting, so stock pictures of Frisco's landmarks were used as reference points. Every building was modeled from the ground up.

Sawiński cracks a smile. „Some people who saw the trailer thought that the shot of the steep street wasn't animated. They mistook it for real footage”, he says.

But even though Platige Image aims for photorealism, they can't always go full-out with it.

„If you're recreating an existing city, you can't just copy its every detail, because of copyrights”, Sawinski explains. „That's why CG landmarks don't look exactly like their real-life counterparts. Also, you can't make a game trailer too realistic, because you need to stay truthful to the source material. The goal, and the really hard thing to do, is to find the golden mean”.

According to gamers, Platige Image managed to do exactly that. The trailer scored over 13 million views on Ubisoft's official channels [US and EU], and was nominated for Animago Award. Ubisoft liked Platige's work so much, that they immediately assigned Polish company another task: creating a TV spot for the game.

Watch Dogs On Television

„It was a different kettle of fish”, says Waldemar Woźniak, who supervised the project. „When we make something for the Internet, there's a margin of freedom. For example, an online video doesn't have to be exactly 2 minutes long. For TV, not only it needs to be extremely sleek, but also comes in a couple of versions: 30-second, 45-second, 60-second etc. I think TV is a more demanding medium”.

Choosing where to place the action was the first big challenge. The spot had to exist in-game, be visually distinct and located conveniently enough so the game's landmarks could be seen in the background.

„It took a lot of time to work out the scene with Ubisoft”, says Damian Nenow, who returned to the director's chair. „We decided to cheat a little. The bridge in the window reflection is way oversized, but it had to be, as it's the game's most recognizable structure”.

Although the warehouse, the street, the female character and a lot of objects had to be made from scratch, Platige used many of the assets already present in the trailer. However, adjustments had to be made -- such as the position and look of badges on Marcus's bag -- to match the newest version of in-game models. Texture resolution was raised and 3D characters gained new details. Platige also used higher quality shaders and lighting.

„We constantly added to the show, not only in terms of details, but of the overall content”, Nenow adds. „There was no bulldozer crashing in the early script, but hey, why not have one? And if we do, why not make it break off some power lines? The spectacle got bigger and bigger”.

The story again took shape in the mocap studio, where the crew worked out the shots. To ensure that actors properly interact with digital objects, chairs, wireframe desks and simple props were used to recreate the virtual set. Dozens of hours in the editing room and hundreds of hours of rendering later, the ad was ready to run on TV.

Tremendous Results

„Our Ubisoft partners were really pleased with the cooperation”, says Damian Nenow, “and the feeling is mutual. Watch Dogs 2 is just an awesome concept with a neat setting that lets you give rein to your imagination. Also, it's hard not to appreciate the creative freedom and easy work flow that come with Ubisoft's projects”.

Technology combined with creativity gave tremendous results. With the help of the Polish studio, Watch Dogs 2 became one of the most anticipated video games of the year, despite the underwhelming reception of its predecessor. It would be surprising not to see Ubisoft and Platige Image partnering up again in near future. 

See the making of film here 

And the Cinematic Traier here 




2017-02-08 00:00:00
PLATIGE FOR UEFA SUPER CUP Platige Image has produced the opening ceremony of the UEFA Super Cup 2016, before match of Real Madrid C.F. and Sevilla FC, which took place on 9th August in Trondheim, Norway. A short pre-match show at Lerkendal Stadium was dedicated to the two clubs who participated in the Super Cup, that is the winners of this year's Champions League and Europa League finals. In the opening ceremony participated young players from the nearby clubs, dancers form the local dance school and Henrik Fuglem, participant of Norwegian talent show who sang the song "All You Need Is Love".

It was fourth opening ceremony produced by Platige Image for UEFA - the first preceded the UEFA Europa League Final, which took place last year at the National Stadium in Warsaw. 

2016-08-10 00:00:00
PLATIGE FOR UEFA EUROPA LEAGUE We realised the opening ceremony of the UEFA Europa League final between Liverpool FC and Sevilla FC which took place May 18th at St. Jakob-Park in Basel. This year marks the third time we’ve been honored with the opportunity to prepare the opening ceremony for EUFA.

Producer: Marek Jankowski, Bogna Czepułkowska
Directing and choreography: Waldek Szymkowiak
Graphic: Paweł Krupa
Production Manager: Maja Boruszewska, Anna Tomczak
Costumes: Anna Szumińska 

2016-05-19 00:00:00
Saatchi & Saatchi/Interactive Solutions, Platige Image, and Dobro for the Alivia Foundation A new campaign, aimed at generating support for the Alivia Foundation, an

organization helping young people suffering from cancer, was developed and

launched by Saatchi&Saatchi/Interactive Solutions, Platige Image, Dobro, Juice, and

Big Picture.

A fully integrated campaign for the Alivia Foundation has been deployed and will run in

TVC, cinemas, YT, printed press, radio, OOH, social media, and numerous other unusual

touch points. The main element of the campaign is a 60-second-long spot espousing video

game trailer aesthetics. Over its course, the audience observes a clash between a well-

armed, valiant woman with a colossal beast−a metaphor for cancer. When the ammo runs

out, as it is wont to do in video games, external support and resources−additional

funds−arrive on the battlefield, allowing the woman to continue the fight.

The Saatchi & Saatchi / Interactive Solutions creative team headed by Marta Frączek and

Aleksandra Zalewska argues that "Alivia is unique in that it never depicts patients with

cancer as victims. This campaign is supposed to convince the viewers that the unfair fight

between the disease and the patients can be won by the latter, provided they are well

furnished with ammunition−that is money for cutting-edge pharmaceuticals and innovative

therapies." The two went on to add that "We wanted to portray the struggle in the most

metaphorical way possible, that's why the environment in which the battle takes place so

strongly resembles the interior of the human body, with cancer an unwelcome blight upon

the land, and the fight against it an individual battle for each and every patient."

"Paying homage to the incredible strength and determination of people struggling with

cancer every single day of their lives was absolutely paramount to us. The spot is a modern

version of 'G.I. Jane' with a sci-fi streak, locking the heroine in a relentless clash with her

enemy. Instead of painting the protagonist as a victim, I wanted her to be a woman made of

steel, with entirely superhuman reserves of strength. She and the people struggling against

cancer share a common denominator: their determination, perseverance, readiness to fight

and snatch victory from the mouth of defeat. And particularly the latter requires significant

funds as money is what buys you ammunition in this fight," reveals Karol Kołodziński, a

director working exclusively with Platige Image.

The strategic and creative concepts for the campaign were developed by

Saatchi&Saatchi/Interactive Solutions. The film was produced by Dobro, a creative

production studio and subsidiary of Platige Image, and postproduction was handled by

Platige Image. Karol Kołodziński served as director and Juice, a member of the Platige

Image capital group, was responsible for sound design. PR strategy and operations were

drawn up and implemented by Big Picture.


Director: Karol Kołodziński

DOP: Łukasz Żal

Actress: Anna Górska

Client: Alivia - Oncology Foundation for Young People

Agency: Saatchi & Saatchi

Production House: DOBRO

Executive Producer: Piotr Sikora

Producer: Mateusz Kirstein, Karina Lempkowska

Postproduction: Platige Image

Lead CG: Mateusz Tokarz

Postproducer: Karolina Mann, Justyna Supernak

Sound FX: Juice 

2016-02-15 00:00:00
3D prints of mechs from "The Old Axolotl" Alex Jaeger received our package with 3D prints of mechs from "The Old Axolotl" Check them out!

2015-04-10 00:00:00
Friendly reminder! Piotr Suchodolski will be on of the speakers on IT'S ART Master Classes in Paris! Tomorrow!

2015-03-14 00:00:00
ZOSIA POLACZEK IN PLATIGE IMAGE Zosia Polaczek joined Platige team. She will lead director's and author's department. She holds the position of Directors Agent since December 2014.

Her responsibilities is to represent advertising directors closely associated with Platige Image: Tomek Bagiński, Paweł Borowski, Sebastian Pańczyk i Szymon Pawlik. Her many years of experience in Film Produkcja and ViewFinder Talent Management and also her extensive contacts with directors operating in foreign markets will strengthen Platige team.

2014-12-17 00:00:00

Nominated for best directing: Tomek Bagiński for "BBC Winter Olympics", Marcin Filipek for "Hunger is a Monster" and Sebastian Pańczyk

2014-04-18 00:00:00
@HOME CONCEPT VISUALISATION In collaboration with C+S Architects Platige has created CG visualisation for Italian kitchen producer .elmar. The idea behind the project was to promote a new design philosophy named @home, which aims to reinterpret the usual idea of the kitchen as a limited, aseptic space. Atmospheric, memorable images produced at Platige cooperate with simple yet luxurious feel of an actual design.

.elmar is a worldwide recognized Italian kitchen furniture producer. The video premiered at the prestigious Salone del Mobile 2014 fair in Milan. Spot will be also used in .elmar showrooms around the world.

2014-04-16 00:00:00
PLATIGE CREATED A CINEMATIC FOR NITRO NATION - MOBILE GAME Platige Image created a cinematic for a mobile game Nitro Nation.
To achieve this photorealistic and dynamic picture, there were almost 40 Artists working on the project for over 3 months. Video directed by Damian Nenow. It is a first project of the studio for Creative Mobile.

2014-04-02 00:00:00