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Shane Plante: Horror can be very unforgiving, and I didn’t know if it hit home until it was done.

I knew I put my all into it, but you never really know if it’s going to work or have the punch you want it to. Everything you saw in The Gate was done in Toon Boom there was no outside software.

I wanted to test the boundaries and see if I could paint something with depth and tie everything together in Harmony. Painting in Harmony is actually a new hobby for me now. There’s something about painting in this software that I can’t get over.

Other than classic horror films, what references did you pull from as you conceived and created The Gate? We have a couple licenses for Harmony 21 and really want me to play around with it, because word on the street is the painting tools and brushes have been revamped. I wanted to try something I’d never seen before and to take a risk. I was actually going to do something that was underwater as my first idea. But then I got really into watching a clip of Christopher Walken in The Prophecy. Christopher Walken was sitting on a gravestone and the camera was going up, and I was like, “Wow, that would be really cool to animate.” Boom! The idea for The Gate came from that camera angle, one shot, and has nothing to do with dialogue in the scene. Right away, I realized I had never seen anyone animate anything about a grave robber. Also, I wanted to try showing suffering in animation. I was going from the perspective of what you don’t see in animation. Mercury Filmworks’ interview with Shane Plante, following the release of The Gate.Īnd you did absolutely everything in Harmony? There’s no deeper meaning - I just really wanted to take a risk and try horror. People on my Instagram say that they’ve always wanted to see horror animated, which is great, but also that they can’t believe I painted The Gate in Toon Boom.

I think they’re used to seeing the vector side and they don’t know that you can switch every element to a BMP. The compression technology in Toon Boom on those BMPs is amazing. Sometimes, we have these backgrounds on the shows we’re working on, and they can slow down the scene because they’re so big. Everything that I did in The Gate had an alpha channel that was so light, and I could manipulate it so easily, that I couldn’t believe it. It was a huge learning experience on my end and something I never would have foreseen.