Interviewe mat Erik Islamov

My primary goal was to create a visual universe that would not feel like a screen backdrop, but rather become a living part of the performance itself. When I first read the script and studied the technical layout of the three screens, I immediately imagined a complete world where digital environments, stage scenery, lighting and actors would exist as a single organism.The creative process started with narrative analysis rather than visual design. I identified the emotional journey of the audience and translated each scene into a visual language. Every planet received its own atmosphere, color palette, architectural logic and movement style. Technology became a storytelling tool rather than a goal. The final result was an immersive environment where viewers felt they were traveling through an entirely new galaxy instead of watching a traditional stage production.

I believe the strongest element was the sense of wonder. Children were fascinated by the fantasy worlds, giant cosmic landscapes and dynamic visual transformations, while adults appreciated the cinematic depth, atmosphere and technical sophistication.I intentionally avoided creating visuals that targeted a specific age group. Instead, I focused on universal emotions such as curiosity, adventure and discovery. The combination of large-scale environments, vibrant colors, volumetric effects and realistic motion created a visual experience that could be understood emotionally by everyone, regardless of age.

The key was a highly structured workflow combined with extensive professional experience. I handled the concept development, art direction, animation, rendering and post-production personally, which allowed me to make decisions quickly without losing consistency.Years of experience in large-scale visual productions taught me how to balance creativity with production efficiency. Instead of creating visuals sequentially, I developed multiple scenes simultaneously while maintaining a unified artistic language. Every design decision was evaluated according to its impact on storytelling, which helped maintain quality despite the extremely limited schedule.

My vision was to eliminate the boundary between physical and digital space. The audience should not be able to clearly distinguish where the real stage ends and the virtual universe begins.Volumetric lighting became an extension of the digital environments. Light beams interacted with the visual content, creating depth and atmosphere. The physical scenery served as a bridge between reality and fantasy. Together, these elements transformed the stage into a multidimensional world that enhanced emotional immersion and strengthened the storytelling experience.

The illusionists were always the main characters of the story. My role was to create a visual environment that amplified the impact of their performance rather than competing with it.Every visual sequence was designed to support moments of mystery, anticipation and surprise. The digital content acted as an invisible partner to the performers, guiding audience attention and strengthening the emotional effect of each illusion. Successful stage design should make the audience remember the experience as a whole, not the technology behind it.

Synchronization was approached as a single choreography involving video, lighting and performers. Instead of designing content independently, I developed the visual sequences according to stage timing, actor positions and lighting cues.The three-screen setup was treated as one panoramic canvas. Motion trajectories, perspective lines and visual transitions were carefully planned to maintain continuity across all displays. This allowed the audience to experience the stage as one coherent environment rather than three separate screens.

The foundation of the project is built on universal themes such as imagination, exploration and wonder. These emotions transcend cultural boundaries.For international audiences, I would focus on adapting symbolic details, visual references and narrative nuances while preserving the core artistic vision. Modern digital scenography allows flexible localization without compromising the identity of the production. The magic remains the same, while the details become more culturally relevant to each audience.

One of the most effective innovations was the creation of large-scale cinematic environments that transformed the perceived size of the stage. Entire galaxies, floating worlds and futuristic structures appeared to extend far beyond the physical boundaries of the venue.Another important element was the integration of lighting and visual effects into a single ecosystem. Instead of functioning separately, projections, lighting and stage architecture interacted dynamically, creating moments where audiences felt physically transported into another reality.

The most important lesson is that technology should always serve emotion. Audiences do not remember the resolution of a screen or the complexity of an animation pipeline. They remember how a performance made them feel.Designers should begin with storytelling and emotional objectives before thinking about technical solutions. When narrative, visual design and technology are aligned, multimedia becomes invisible and the audience becomes fully immersed in the experience.

Architecture taught me how people perceive space, scale and perspective. Video mapping taught me how to transform those spaces and make them feel alive. Combining these disciplines allowed me to create environments that felt both believable and extraordinary.I approach visual design as spatial storytelling. Every object, structure and movement has a role in guiding the audience through the narrative. This combination of architectural thinking, cinematic composition and digital technology became the foundation of the visual language behind Three Planets.