Here’s a fresh Tiger Talk to wrap up the week on a high note and maintain your enthusiasm until February 2nd when you can (finally) dive into The Tiger’s Apprentice on Paramount+! Today, let’s hear from Bruno Roberto as he shares his journey as a Lighting Supervisor. Based in Montreal, he’ll also enlighten us on how his team successfully collaborated with artists from around the globe. Stay tuned for some fascinating insights!

• Could you tell us more about your journey in animation and your time at Mikros?

I joined Mikros in 2012 for their first animated film, Asterix: The Mansion of the Gods (in a garage in Levallois-Perret, a far cry from the large teams we have now). After working at other studios, I returned to Mikros Paris as a senior lighter for Sherlock Gnomes and Asterix: The Secret of the Magic Potion.

Later, I became a Lead with the Mikros Montreal team, contributing to projects like The Sponge Bob Movie: Sponge on The Run, PAW Patrol: The Movie, Thelma the Unicorn, Teenage Mutant Ninja Turtles: Mutant Mayhem, and finally serving as the Lighting Supervisor for the Montreal team on The Tiger’s Apprentice.

• What was your role on TA as a Lighting Supervisor?

My role was to manage the lighting team in Montreal, ensuring that the artistic aspects were respected and aligned with the artistic director’s vision.

Additionally, I made sure that technically, we could find solutions to the challenges imposed on us, with the assistance of the CG supervisor and VFX supervisor.

• How was the collaboration with Paramount’s creative teams and Mikros teams?

Paramount was open to our ideas, and together, we successfully completed this beautiful project.

I had the privilege of working with an amazing and skilled team at Mikros. They skillfully managed the various challenges we encountered during the film, and I learned a lot personally and professionally.

Working in the post-COVID era presented challenges. We had to adapt to different working styles and schedules across various collaborating sites (Paris, Belgium, United States). Despite these challenges, everything went well in the end.

• What were the main artistic and technical challenges on TA?

This production posed challenges with a rewrite from Paramount to address script issues. We had to adapt the look and ambiance due to significant changes. The manufacturing took longer than expected, leading us to motivate teams and adjust techniques. We also had a substantial amount of FX to manage.

• Do you have a favorite scene or character?

One of my favorite sequences is the one inside Tom’s grandmother’s house, where she later fights with Loo. I love the atmosphere and the contrast between the two worlds. It’s also dynamic and was quite challenging in terms of FX. The final sequence, during the reunion of the guardians on the platform, is also well-executed, I think.

• What are you most proud of regarding TA?

What makes me proud is having the feeling of being an integral part of a team and seeing how all the departments were involved in helping each other despite the challenges we went through. I could feel the strength of the Mikros family!

• Describe the film in 3 words

Adaptation, hoodie 😊, magic

• Any last words? 

I think each department had to face its own challenges during the film, both technically and humanly, and for that, hats off to them. Congratulations to everyone!

Thanks Bruno!