NYMPH (Mamula) – Making Of Insights

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With intent to make something different and new, to break away from our regular advertising projects, we came across Milan Todorovic’s and Marko Jocic’s suggestion to work on a movie together. There was nothing regular about it in our ordinary working day and we found ourselves thinking – Let’s try it!

It was an adventure on so many different levels, a joint valorous voyage through an eight-month long project. Looking back now, it sounds amazing, but a feature film with 180 VFX shots in a time period of only 2 months gives us the creeps even now. We don’t know how we managed to pull it off!

Yes, we had a lot of stress at the shooting in Rose during those 3 weeks: being cut off from civilization was very strange at first, sometimes entertaining and sometimes very quiet, but we had a lot of fun, especially with actors. It was a great honor to meet Franco Nero in person, our childhood hero from westerns, and it was also a pleasure to work with Kristina Klebe and Natalie Burn, as well as with our domestic actors.

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We have to mention great Mina Sablić, who is responsible for the wonderful “evil mermaid” underwater scenes. It was very hard for her, working in the cold water all day and diving, even though she wouldn’t admit it, but we tried to shoot those scenes as quickly as possible to make it easier for her.

After that, when we brought all that raw material in Belgrade – everything blossomed.

Let’s put it this way: the crew in the studio was very enthusiastic about it, everybody was getting involved in the production and organization, and they were all helping and communicating between themselves a lot. All that came out very well and we are very proud of it.

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This project showed us how the interaction of positive energy can affect the outcome of a project in the best possible manner. We had a good organization and the thing is that this was a whole new world in the ocean of projects done earlier and that was the greatest motivation of all; to do something new and to step out of the box in the cinematography in Serbia. If you take a better look at domestic films, most of them are war movies and dramas. We took a risk with our ideas and invested in them, just not to be a part of the past, even sadness…

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It was all about the simplicity based on daily feedback with artists, good coordination and sometimes staying 1-3h overtime. It was a big deal – starting with the creation of concept of a mermaid, a mythical being that has 2 different manifestations. It was a great challenge, both creatively and technically speaking. We had to be effective; there was no space for bad judgments that would put our deadline at risk.

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One of seemingly small but crucial decisions was the texture pick in waistline, the crossing from “Lakobrija’s” silicone vest to mermaid’s tail, which was later added in post-production. Too many details would make things harder, even impossible to work with and pull it off at the very end. Making it simpler gave us a chance not to make mistakes during twisting and torsion of the tail itself and also made it easier for us to get more natural and diverse movements.

Bottom line, we were walking on a tightrope, but we managed to balance speed and quality. A mermaid was born.

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This is another step of growth of the studio and people we work with every day, as we like to think: every day we get a little bit better than yesterday.

During those 2 months, our team spirit and good mood gave us a new form of energy and confidence, we enjoyed working on this film and, of course, we would do it all over again.

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