InterviewsCitadel Diana: Giancarlo Derchie Production VFX SupervisorBy Vincent Frei - 31/10/2024 Giancarlo Derchie brings 15 years of visual effects experience, having worked across global studios on projects like Wynonna Earp and Locke & Key. In this interview, he discusses his latest work on Citadel: Diana, a spin-off in the spy franchise Citadel.What is your background?I come from Ticino in Switzerland, from a small village called Riva San Vitale. Since a young age, I have been interested in art and film, growing up with movies like The Goonies, Indiana Jones, Star Wars, Battlestar Galactica, and The A-Team. Due to this passion, I attended the Accademia di Brera where I studied Fine Art and Set Design. Later on, I continued my studies at the Vancouver Film School. My background in fine art has given me the ability to create and design my own VFX concept art for shows. Over the years, I have found it very helpful to build a clear line of communication with Showrunners and Directors. This allows for early preparation and tangible discussions about the VFX look and approach.How did you get involved on this series?Early in the process, AMZ/AGBO reached out to me because of my extensive experience in working with multicultural co-productions. These productions are very different from those that focus on bringing talent and crew from abroad and using only the location.How was this new collaboration with director Arnaldo Catinari?From the start, we shared a strong, creative, common vision for the show and its aesthetic. This was the first Arnaldos Catinari VFX show on this scale and scope. I supported his process from pre-production, creating concepts and possible shooting methodologies for each type of sequence and shots, while trying to give the Director as much freedom as possible. Arnaldo and Gina Gardini (Show Runner) entrusted me from the start to help design and build the Manticore Technology and determine how it can work and look within the Citadel universe.How did you choose the various vendors and split the work amongst them?The first task was to select vendors that can help us retain the same VFX quality of Citadel Season 1, while also being able to push and expand the visual effects language built in first season. One of my objectives was to split the work between a blend of international teams and a local teams. The choice I made was based on the strength of each team and their creative ability to push the boundaries of the show.For the graphics, for the first time, we see the Manticore Technology and how it works, as we had no previous exposure to it. Perception, a team with strong experience in building technology and graphics for many sci-fi shows was my choice for helping me on build this worldRaynault VFX created the Duomo of Milan, Paris HQ and Manticore Castle. From the start, Matthew Raynault (VFX Supervisor & Founder) understood the scale, scope, and the importance of the work, and what we were trying to show with this iconic monument being destroyed and abandoned. We had a great interaction with them, and they understood the scale and quality of the show.Crafty Apes MTL has strong experience in high-end VFX TV shows and understands the quality expectations for this show. As the show was growing in scope, they helped us support the growing volume of it, working on a variety of shots with complexity from 2D DMP to 3D element shots. Notably, they were involved in the medical room, folding gun, Milano EDO, and Diana DMP, and integration for GFX Manticore HQ, Contact Lens, Edo Lab, Edo portable computer, and Edo Fingernails tech.22DOGS and Flat Parioli Post, both of which are growing and upcoming VFX vendors with amazing talent and quality. 22DOGS is an Italian company with studios in Spain who initially delivered trailer shots for us, and as the show grew in scope, they joined us as one of the primary VFX vendor teams. Notably, they were involved in the sequence of EP105 flashback biological room flashback, Citadel Take down DMP, Paris Driving sequence, Sicily Diana and Weber fighting sequence.Flat Parioli Post, is an Italian company too, and was one of the first VFX vendors to join us on this journey, and they have worked on a variety of shots from 3D to 2D. Notably, they were involved in Citadel Drone, driving sequence in Swiss Alps, and Milano daytime, integration, and design based on Perception Concept for the graphics on Dianas phone and Ceciles Bracelet.What is the your role on set and how do you work with other departments?I supervised the entire shoot and ran the VFX second unit for the Citadel Flashback Medical Room in episode 05, as well as the plate shooting for the Car Driving sequence. My work ethic is based on encouraging everyone to connect, talk, share ideas, and have open communication to support each other. For heavy VFX sequences, I like to create a VFX template document that I share with each Head of Department (HOD) to ensure easy access to the specific requirements for each shot before shooting, its more of a guidance than a traditional VFX breakdown (we also had those as well!). This helped with the planning with various departments and reduce stress and pressure during complex VFX shots or sequences and ensures that everyone is on the same page.How did you approach the challenge of creating invisible VFX for a series like Citadel: Diana, where realism is key, but the action is highly stylized?From the start, the creators were aiming for a very aesthetic and minimalistic look for the show. The challenge was to create something high-quality yet minimal to effectively communicate the story, in contrast to the polished and perfect look of Citadel Season 1. My approach was the opposite of that. I decided to design and integrate new technology with imperfections. Even though we are in the future, the new technology is not perfect, and the world is grittier and darker.How much pre-visualization and planning was done to seamlessly integrate VFX with practical effects, particularly in the large-scale action scenes?For all the sequences, we worked based on the storyboard without any previsualization. Arnaldo and I, along with the camera team, shared the same synergy, working in tandem. When needed, I stepped in with solutions or alternative approaches.Can you walk us through the process of digitally enhancing some of the key stunts and action sequences in Citadel: Diana?The fighting and action scenes in Citadel have a very traditional and practical approach, executed by the main cast. For example, the zipline sequence featuring Diana was performed by Matilda De Angelis with the Stunt Camera Crew. The VFX work included 2D muzzle flash, wire removal, and reflection cleanup.How did you balance practical and digital elements?All the action sequences were done in camera, with VFX providing precise control for adding or removing elements from the shot.The series was filmed in multiple international locations. How did you use visual effects to either recreate or augment these real-world locations?Milano was a great challenge for us. We had to build and destroy the iconic and sacred Duomo Cathedral, which is special for the people of Milan and a very busy tourist area in Italy. We faced limitations on scanning the cathedral over two months, so my team and I took pictures of the entire cathedral from every angle and every possible height to have enough reference for the rebuilding and destruction of the Duomo.Filming in multiple locations, such as Italy and Switzerland, presented specific challenges for the VFX team, especially when blending different environments. There were limitations on time and accessibility of the filming locations with a crew. Therefore, our VFX team started to have off days and tried to blend in as tourists in these locations to collect as much photo reference as possible to aid us in the process later on.One of the most striking VFX moments is the destruction of Milans Duomo. What were the main challenges in recreating such an iconic landmark for that scene?The reconstruction of the 3D Duomo was one of the most challenging aspects due to its iconic design, and we were unable to access a LIDAR scan of the building. We had to base the reconstruction of the cathedral on the picture references we took during our months in Milan. aspect as the building as very iconic design and we were not able to access to a LIDAR scan of the building . We have to base the rebuilding of the Cathedral from the picture reference that we have took during the months in Milan. Were there any sequences where the audience wouldnt expect VFX to be involved, but digital work was essential? Could you give us an example of an invisible effect from Citadel: Diana?Zipline was built using two cranes. With VFX, we rebuilt the anchor point to make it seamless.With many intense action sequences, how did you digitally enhance or extend the physical performances of the actors without making the VFX too noticeable?For all the fighting scenes, we can extend the physical performances by adding or removing frames to create a stronger impact or faster movement.Were there any sequences where you combined practical destruction with digital effects, such as in the Duomo scene? How did you ensure the VFX felt grounded in reality?Episode 3 involves the Citadel Ambush at Manticore during night time. There will be a car explosion with special effects. We need to build the machine gun and Citadel Drone based on a new concept, which has been approved by Citadel SE01. For the Duomo scene, we are using references from collapsing buildings. Our philosophy for the VFX is to ensure that they are grounded in reality and fit the storytelling and universe. In this case, we aim to create a cold and minimalistic world where perfection means practicality rather than polish, prioritizing functionality over perfection.What was the creative process behind designing the motion graphics for Citadel: Diana and how did you ensure they aligned with the overall visual style of the series?I had bi-weekly meetings with the USA team for Citadel where we share ideas and align in terms of the overall visual language and direction. With that in mind, we are presenting something 8 years into the future, taking us to 2030, which of course has never been seen before.How did you balance artistic expression with functionality in the motion graphics, especially in scenes where they play a crucial role in storytelling or enhancing key moments?The main goal from the beginning was to create functional and realistic graphics that effectively communicate information. At the start of the show, the graphics were initially background elements but evolved over time in post-production to become key storytelling elements. The main challenge was to strike a balance between a minimalist approach and conveying storytelling elements. Much of the graphic content you see was a result of direct collaboration between myself, the Showrunner, and the Director.What specific tools and techniques were most critical in animating the graphics, and how did they help you achieve the dynamic feel that is central to the action-packed narrative of Citadel: Diana?The graphics have a very specific scope to enhance Dianas ability and, at the same time, be flexible enough to quickly explore new looks and functionality. To achieve this, we use After Effects and Nuke.Were there any particular challenges in creating motion graphics for a series with such a global and futuristic theme?The main challenge was to create graphics that dont feel localized to a specific country or culture, but can be used across the agency around the Manticore Globe. To achieve this, I took inspiration from the famous Apple and Microsoft ecosystems.Can you discuss any particular techniques or tricks used to ensure these effects blended seamlessly into the live-action footage?Im happy to share a simple trick that really helped us with POV GFX (Motion Graphics). We added a minimal, small, soft chromatic aberration around the edge of the eye to emulate a sense of volume to the contact lens. For episode 5s bio lab fire sequence, add heat distortion behind the actor to enhance the VFX fire plates.Were there any unexpected technical or creative challenges encountered during the production?Two occasions, both in Episode 05:1. Matteo Folding Sequence: The sequence is built using 5 different layers FG, MID, BG layer for actor and stunt. It involves the use of a tube and a gun with a 3D transition in between.2. Citadel Flashback Bio Lab: We filmed the actor in GS for safety reasons and later, with the second unit, I filmed the LAB in FIRE at 50fps.Looking back on the project, what aspects of the visual effects are you most proud of?All the graphics and Duomo.How long have you worked on this show?2.5 years.Whats the VFX shots count?1500.What is your next project?Available and open for my next project globally.What are the four movies that gave you the passion for cinema?A big thanks for your time.WANT TO KNOW MORE?Raynault VFX: Dedicated page about Citadel: Diana on Raynault VFX website.WATCH IT ON Vincent Frei The Art of VFX 2024