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Game of Thrones 3


Time: 2012
Client: HBO / Fire and Blood Productions

Summary: Returning to Game of Thrones for it’s third season, our ambition was to surpass ourselves. The script offered us a huge variety of scenes to do so. The cities of Astapor and Yunkai were particularly challenging, as they had to feel as if they were part of a coherent cultural realm, yet with an individual fingerprint.

Likewise, established locations, such as Dragonstone, the Sept in King’s Landing, or the Ice Wall were all expanded with a strong consciousness for consistency and continuity.

A vast and impressive amount of the Game of Thrones world that we see in visual effects shots has been envisioned and rendered for concept by Karakter and its lead artist Tobias Mannewitz.

His phenomenal imagination, knowledge of history and structure and intrinsic good taste has brought a level of logic, realism and beauty that no series before can claim. Joseph Bauer, Lead VFX Supervisor HBO - Game of Thrones
A city like Yunkai should look and feel like it's been lived in for hundreds of centuries. The designs had to imply cultural richness, mainly for the pyramids, battlements and street layout.Tobias Mannewitz, Creative Director KARAKTER
For the art of make-believe, it helps to show the same landmarks, such as the Red Keep, under a variety of angles and perspectives, and to show how the narrative affects the environment.Tobias Mannewitz, Creative Director KARAKTER