Type of work: Matte Painting

For the evolution of the Grand Budapest Hotel in the 1960s, I received photographs of individual architectural components including window frames, lamp posts, pillars, doors, structural beams, tiles, and various decorative features and I was asked to assemble these disparate elements into a cohesive structure while respecting the architectural integrity of the 1930s version of the hotel.

It was a long and meticulous process which required all my focus and effort, as each component needed to integrate flawlessly with adjacent elements while maintaining accurate proportions, measurements, and dimensional relationships. Every corner of this composition, down to the minutest decorative detail, was individually handcrafted with dedication and patience. Once the whole structure was completed, I collaborated with Nicolas Pellkofer, who created a matching 3D model based on my apparently two-dimensional image. I used the blending modes in Photoshop to seamlessly merge the rendered geometry with my painted work, adding depth and realism to the final result, making it a memorable moment in the story and in cinema history.

To this day, this remains one of the shots of which I am most proud in my career.

This hybrid approach, combining traditional miniature craftsmanship with digital painting techniques, proved essential in realising the film's distinctive storybook-like visual character. The success of this integration contributed to the production's recognition, earning Academy Award nominations for Best Visual Effects and ultimately winning the Oscar for Best Production Design.