Could you explain what the acronym PLSTC represents?
PLSTC is an invented acronym that simply means “plastic.” This word has several advantages: it is succinct, legible, and phonetically understandable in most languages. Also, with its “visually missing” letters, it also perhaps illustrates the idea that plastic does not totally disintegrate but rather, remains, in spite of everything, plastic.
Which techniques did you use to create these images?
No animals were harmed during filming, because there was no filming. PLSTC is 99% a mixed-media digital fiction. It is the result of an experimental process involving a symbiosis between human sensitivity and digital tools, certain of which use artificial intelligence (AI) applied to artistic forms. First, the images were created with the help of Midjourney, a text2image AI software that uses prompts to generate unique still images. I had to create a collection of several thousand images representing approximately 40 animal and plant species in order to select the 400 most precise, touching, and visually coherent ones for the film. Once these images were manually edited in 2D using Photoshop, I transformed them into 3D scenes with a depth maps generator tool which also relies on AI. Then, I again manually touched up the individual shots to ensure their visual credibility once in movement. After enlarging each shot to 4K, with the help of another specialized AI software designed for this purpose, I was able to begin editing and compositing the film with traditional postproduction softwares such Premiere and After Effects.
What about the remaining 1% that is not digital? The particles and microbubbles are, for their part, real.
How long did you work beforehand to produce the 1 minute and 15 seconds of images for the film? Did you encounter any roadblocks along the way?
Indeed, the film is relatively short, but intense, with its almost 400 visual effects shots. Aside from a few glitches of certain newer AI apps, everything went according to plan and rather quickly compared to say, a classic CGI production that would have included as many animated elements. The entire PLSTC project took me 3 months. I made the film itself in 2 months: from the concept to the color calibration to the creation of the visual images, transforming them to 3D, followed by the editing and finally the VFX compositing. After that, I spent a week on sound design with Magnus Monfeldt and then Nick Smith who crafted a 5.1 surround mix. And finally, it took three more weeks to put everything related to the film’s launch in place—the film description, PR, translations, website, teasers, posters, key visuals and other communication material in specific formats to promote the film on social media, lists of festivals, etc.)
How did you choose the piece of music that accompanies the film?
Very simply, very quickly, and very early on in the process, by carrying out specific searches on music library platforms. I already had a precise idea of what I wanted as far as rhythm, length, genre and instrumentals went. I quickly came across the piece of music that corresponded with what I was looking for and that immediately struck me.
How interested are you in the question of raising awareness about protecting the environment? Do you have other projects on the same topic?
The issues regarding the environment are more and more concerning to me. But I am not a sailor, nor a scientist, nor am I a lawyer at the European Commission. My weapons are my sensitivity, my creativity and my artistic skill. If my messages are able to reach people capable of making changes in real life, I feel that I’ve fulfilled my role: that of communicating through art. Each person is free to get involved in their own way. As far as I am concerned, in addition to having spent a trimester self-producing this film, I will give 20% of any profits earned by PLSTC to NGOs on the field. My next projects also deal with universal causes and I’m exploring new AI programs to perhaps help me make them.
What’s your favourite short?
There are many of course, but I’ll cite the first and the last that had an impact on me: La Jetée by Chris Marker and A Short Story by Bi Gan. But I hope to discover many others during this edition of the Clermont-Ferrand festival!
What does the Festival mean to you?
I learned about the festival relatively late, only about ten years ago, when one of my first animated films, Miss Daisy Cutter, was officially selected for the festival. I was struck by the how large the event was, here in the middle of France, as well as by the enthusiasm and the passion of the audience and the organizers. The Clermont-Ferrand Short Film Festival is for me a wonderful experience and an example—like Cannes or Annecy for animated films—of the best out there to nourish the passion and satisfy the curiosity for cinema all across France.