I collaborated with Honza Sládeček, a skilled VFX and motion designer, who was in London at the time. We divided the shots within the clip, according to our specialties and how we liked the scenes. The rest of the crew was in Prague, where the feature filming took place in a green studio. Over the course of a month or so, it was an interesting experience of making a clip quite rich in VFX and CGI environments and in collaboration with a colleague "remotely".

In addition, there was a rather more dramatic situation during the project when we lost some of the footage by accident, which was transported (by air/physically) to Honza in London for composition. However, this problem was solved promptly by our producer Dita Knotová, who arranged a new shoot to fill in the lost footage so that the (post)production could continue. At the last stage, the composer Martin Smekal joined the production in Prague, thanks to whom the work was successfully completed/composed.

The technological complexity and quality of the animation, landscapes and VFX was mainly due to time. To our regret, we missed a lot of work, but it was still a relatively large piece of work with a very limited time and budget and a very small Czech team.