Befores and Afters: A new kind of animation. The making of ‘The Liberator’.
b&a: You used a lot of bluescreen sets. (SNIP) How did you make decisions about whether it should be bluescreen or greenscreen?
Marko Zarić: The bluescreen/greenscreen-the decision here was strictly practical reasons. We are shooting a World War II drama, which means 90% of
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