​

First, the actors are filmed by a fixed camera in the studio, on a green screen. They move and play in costumes in front of this motionless camera. Spatial Compositing, a special process, will then allow these rushes of our actors to be faked and integrated into one or more 3D sets (a port, a bedroom, the deck of a ship, etc.), or even to multiply .

Completely virtual sets and foregrounds are created and calculated separately. They are based on in-depth research, which can be current visual references (real filming in natural settings to preserve the geographical configurations of the places) or period in the form of historical and archaeological research (original ship plan, cartography, model…) at the service of a vanished universe.

Finally, like a mille-feuille, the final image is assembled, composed. It is made up of 20% real (the actors), and 80% virtual, made up of backgrounds (a boat, the sea, the sky, etc.) and foregrounds (a statue, lush vegetation , ropes…), objects, shadows and reflections. In the end, a multitude of layers (the 1st shot of the film Trafalgar, for example, has 180 different layers) is added to each other and is mixed several times, refined, and delivered, on any axis and in movement, rich in detail and history.