Mikros Animation Paris’ teams under the Mikroscope! We asked them 8 questions so that you can get to know them, their world and their successes. At the end, they in turn pass the baton to one of their colleagues so that another person can answer the same questions!
Nominated by her colleague Julie Albaret, it’s now the turn of Tina Dardenne Fallet, Compositing Artist to answer our questions. Here are her answers:
What is the best part of your job?
I like to be the last step in the “artistic chain”, to be the link between all the departments and talents that work before us. The compositing artists really have the role of magnifying the image despite the fact that it is a department whose impact on the final image is rarely noticed. However, if the work is badly done… everyone will see it!
Another best part is that I get to meet wonderful people with each new project. This work has helped me so much to overcome my shyness.
What was the first project you worked on when you joined Mikros Animation?
The great Teenage Mutant Ninja Turtles: Mutant Mayhem project!
Share your student and professional background to get to your position at Mikros Animation!
The desire to make animation my profession came quite early. I’ve been watching all the anime that exists since I was 5 years old. I was constantly drawing, everywhere – All the time!
I graduated from LISAA school, a 2D animation course in 2008. At the time I remember that I still had a certain aversion to the 3D animation medium… adolescence eh!
I started my career as a 2D animator, I did a first internship at Cube Creative and then quickly moved to Ellipsanime where I got my first job as a Compositing Artist. That’s where the passion for compositing hit me! Since then, I’ve been doing a lot of jobs mainly as a compositing artist in many Parisian studios.
I had the pleasure to work in Brussels at Walking the dog, and to work on my first feature film “Un monstre à Paris”, through Illumination and TeamTo. After a few supervisory positions on short projects or leads in series, I had the opportunity to become Compositing Supervisor on “Arthur and the Minimoys” the series at Feu Studio 100 animation. It was a seminal experience where I really discovered in depth the management and the relationship between the team, the director and the production. I loved it, despite the great stress that can fall on our shoulders.
I also started to give Compositing Courses in the International Class at LISAA. This is my 4th or 5th year. It’s very exciting. After several years of supervision for Gaumont and Teamto. I am now returning to my first love as a compositing artist at Mikros Animation. It is an opportunity for me to recharge my batteries by making magnificent images for a project that makes me so excited.
What inspires you or who inspires you?
A lot of things! If I had to choose illustrators/directors who have a very strong universe such as Mary Blair, Ashley Wood or Aleski Briclot and so many others; I’m also a huge fan of Mamoru Oshii or Satoshi kon films. In short, I love it when they titillate our imaginations and distort our perception of reality. Lately I’m a big fan of Alberto Mielgo’s work, and it’s going to make groupie but also a lot of Yashar Kassai’s work.
If you had to be a character in Mikros Animation’s films and series, who would you be?
April O’Neil in Teenage Mutant Ninja Turtles: Mutant Mayhem
Your biggest achievement so far?
To have made young people who were just entering the industry want to do this particular job.
What would be your superpower?
What advice would you give to your younger self?
Don’t ever start the Café! 😂 On a more serious note, “Your impostor syndrome will probably never go away. You will have to learn to trust yourself. And most importantly, just don’t waste your time and energy on people who don’t make you grow.”
It’s your turn to name someone from Mikros Animation Paris, to answer these 8 questions!
I pass the mic to Alexandra Diaz de Ciero & Marion Glomot
Do you want to join our Parisian teams? Apply here!